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SAINT  LOJIS 

A  CIVIC  MASG-UE, 


SAINT  LOUIS 
—  A  CIVIC  MASQUE 


BY  PERCY  MACKAYE 


THE  CANTERBURY  PILGRIMS.    A  Comedy. 

JEANNE  D'ARC.    A  Tragedy. 

SAPPHO  AND  PHAON.    A  Tragedy. 

FENRIS  THE  WOLF.    A  Tragedy. 

A  GARLAND  TO  SYLVIA.    A  Dramatic  Reverie. 

THE  SCARECROW.    A  Tragedy  of  the  Ludicrous. 

YANKEE  FANTASIES.    Five  One-Act  Plays. 

MATER.    An  American  Study  in  Comedy. 

ANTI-MATRIMONY.    A  Satirical  Comedy. 

TO-MORROW.    A  Play  in  Three  Acts. 

SANCTUARY.    A  Bird  Masque. 

SAINT  Louis.    A  Civic  Masque. 

A  THOUSAND  YEARS  AGO.    A  Romance  of  the  Orient. 

POEMS. 

URIEL,  AND  OTHER  POEMS. 

LINCOLN.    A  Centenary  Ode. 

THE  PLAYHOUSE  AND  THE  PLAY.    Essays. 

THE  Civic  THEATRE.    Essays. 

At  All  Booksellers 


FIGURE  OF  "GOLD" 

Drawn  by  JOSEPH  LINDON  SMITH 


SAINT  LOUIS 

A  CIVIC  MASQUE 


BY 

PERCY  MACKAYE 


GARDEN  CITY  NEW  YORK 

DOUBLEDAY,  PAGE  &  COMPANY 
1914 


Copyright,  1914,  by 
PERCY  MACKAYE 

All  rights  reserved,  including  that 

of  translation  into  foreign 

languages,  including  the 

Scandinavian 


NOTE:  —  For  permission  to  read  in  public  this  Masque  or 
any  other  dramatic  work  by  the  author,  application  must 
be  made  direct  to  the  author,  in  care  of  the  publishers. 


To 
THE  CITIZENS  OF  SAINT  LOUIS 

WHOSE  ORGANIZED  FORESIGHT  FOR  ART 
HAS  CREATED  AN  INSPIRING  PRECEDENT 
IN  THE  SOCIALIZATION  OF  MODERN  CITIES 


292246 


PREFACE 

This  masque  is  a  contribution  to  a  distinctive  art-form  of 
the  Civic  Theatre,  in  its  large-scale  aspects,  as  outlined  in  a 
recent  volume  under  that  title  by  the  author.* 

To  witness  the  manifold  growth  of  the  civic  theatre  idea,  and 
in  some  part  to  share  in  it,  is  to  experience  a  kind  of  thrilling 
assurance  of  its  large  destinies.  For  some  years  past,  I  have 
had  occasion  to  speak  and  write  of  the  potential  use  and  public 
need  of  the  art  of  such  a  theatre  —  a  dramatic  art  expressing 
community  life,  created  by  social-minded  craftsmen,  and  par 
ticipated  in  by  representative  numbers  of  the  people. 

Not  until  last  autumn,  however,  was  the  opportunity  forth 
coming  for  me  to  "hand  over"  some  concrete  sample  of  my 
meaning,  as  applied  to  the  organized  expression  of  a  large 
city.  Last  autumn  that  opportunity  came  in  the  request  of 
the  Saint  Louis  Pageant  Drama  Association  that  I  should  create 
a  dramatic  work  (the  one  here  published)  appropriate  to  be  en 
acted  out  of  doors  by  several  thousand  citizens  of  Saint  Louis, 
in  the  great  natural  amphitheatre  at  Forest  Park,  on  the  one 
hundred  and  fiftieth  anniversary  of  the  founding  of  Saint  Louis, 
in  May,  1914. 

The  idea  of  celebrating  that  anniversary  by  a  form  of  com 
munity  expression  originated  with  Miss  Charlotte  Rumbold, 
whose  significant  work  in  the  Saint  Louis  playgrounds  has  justly 
won  national  attention.  In  association  with  her,  Mr.  William 
La  Beaume,  Mr.  Luther  Ely  Smith,  Mr.  John  Gundlach,  Mr. 
Dwight  Davis,  Mr.  Percival  Chubb,  and  other  social-spirited 


*  "  The  Civic  Theatre,  in  Relation  to  the  Redemption  of  Leisure,"  by 
Percy  MacKaye;  Mitchell  Kennerley  New  York,  1912. 
See  Appendix  Page  86 

vii 


PREFACE 


citizens  set  about  last  summer  to  canvas  the  national  field  for 
workers  having  some  proficiency  in  the  incipient  art  of  pageantry. 
In  September,  after  conference  with  Miss  Rumbold  and  Mr. 
La  Beaume  in  the  East,  I  received  an  invitation  from  the  Saint 
Louis  committee  to  submit  to  them  my  ideas  regarding  the 
proposed  celebration  in  May.  I  did  so  in  a  letter  from  which  I 
quote  here  in  part: 

"  I  have  the  following  proposal  to  make,  which  I  believe  would 
be  beneficial  to  the  success  of  the  total  celebration. 
"  My  proposal  is  this: 
"Let  the  celebration  consist  of 

THE  PAGEANT  AND  MASQUE  OF  SAINT  LOUIS 

"Let  PAGEANT  and  MASQUE  be  distinct,  and  under  dif 
ferent  directorships,  though  harmonized  of  course  in  their 
general  scope  and  design. 

"Let  the  PAGEANT  consist  of  a  daytime  celebration,  in 
volving  the  coordination  of  all  those  festival  activities  which 
your  committee  has  contemplated,  and  which  some  expert  whom 
they  may  select  may  direct,  according  to  a  plan  satisfactory  to 
the  expert  and  your  committee. 

"Let  the  MASQUE  consist  of  a  civic  drama,  interpreting  sym 
bolically  the  large  historic  meanings  of  Saint  Louis,  acted  after 
nightfall:  the  Masque  to  be  written  by  myself  and  staged  by 
Mr.  Joseph  Lindon  Smith,  under  our  authority  and  directorship 
distinct  from  that  of  the  Pageant  proper. 

"To  the  writing  of  such  a  MASQUE  OF  SAINT  LOUIS 
I  should,  of  course,  be  happy  to  give  my  best  labor  in  preparative 
study  of  material,  creative  thought,  and  technical  handling;  and 
I  could  place  its  scenic  production,  costuming,  lighting,  etc.,  in 
no  available  hands  more  sympathetically  artistic  and  efficient 
than  Mr.  Smith's. 

"As  this  concentration  upon  the  single  large  night-feature, 
the  Masque,  would  lend  itself  to  noble  artistic  possibilities  of 

viii 


PREFACE 


dramatic  unity  and  scenic  impressiveness,  it  appeals  to  us  as  a 
plan  which  should  not  only  provide  Saint  Louis,  during  its  time 
of  celebration,  with  a  distinctive,  popular  entertainment  of  a 
nature  to  be  widely  noticed  for  its  novelty  and  individual  treat 
ment,  but  one  also  which  should  stand  as  a  worthy  pioneer  con 
tribution  to  that  future  repertory  of  civic  dramas,  which  I  have 
suggested  in  my  volume  may  well  be  offered  by  the  great  cities 
of  America,  as  a  national  expression  in  dramatic  art." 

A  little  later  in  the  autumn,  the  suggestions  of  this  letter 
were  adopted  by  the  committee,  and  I  received  the  definite 
commission  to  undertake  the  Saint  Louis  work,  in  association 
with  Mr.  Joseph  Lindon  Smith  as  stage  producer,  and  Mr. 
Frederick  S.  Converse  as  composer. 

So  much  of  retrospect  is  pertinent,  since  it  gives  the  origins 
of  what,  I  believe,  may  prove  to  be  an  important  precedent  in 
the  technical  development  of  civic  pageantry  —  the  correlation 
of  Pageant  and  Masque  as  a  single  art  event,  to  express  a  large- 
scale  community  celebration. 

Mr.  Thomas  Wood  Stevens,  director  of  the  school  of  drama  at 
the  Carnegie  Institute  in  Pittsburg,  was  chosen  to  write  and 
produce  the  Pageant.  Thoroughly  skilled  as  a  maker  of  pag 
eants  in  a  notable  series  at  the  Art  Institute  of  Chicago,  he 
has  brought  to  our  total  task  a  rare  spirit  of  cooperation.  To 
this  volume  he  has  kindly  consented  to  contribute  a  synopsis 
of  his  Pageant,*  so  that  the  ensemble  effect  of  the  day-and-night 
celebration  may  be  the  more  clearly  imagined  by  the  general 
reader,  and  estimated  by  the  student  of  this  still  tentative  art. 

The  plan  of  correlated  Pageant  and  Masque  seeks  to  solve  an 
essential  problem  in  a  new  profession  —  a  profession  which  I 
have  elsewhere  termed  Dramatic  Engineering. 

The  problem  is  this: 

A  great  city  seeks  to  understand  itself  as  a  social  organism. 
Socially  its  life  has  flowed  from  far  times  and  places  to  a  present 

*See  Appendix,  p.  95 

ix 


PREFACE 


focus,  which  again  radiates  into  dimly  imaginable  futurity.  A 
great  city,  in  short,  seeks  for  the  first  time  to  imagine  its  own 
origins  and  destiny  —  its  life  drama. 

What  is  the  best  method  to  compass  this  imagining? 

First,  its  people  must  convene  in  maximum  numbers  practi 
cable  for  seeing  and  hearing.  The  city  must,  therefore,  possess  a 
great  auditorium  of  proper  topography  and  acoustics. 

(Saint  Louis  has  such  a  natural  auditorium  at  Art  Hill,  well 
adapted  for  an  audience  of  a  hundred  thousand  persons.) 

Next,  the  people  must  behold  their  history  (past  and  present) 
visualized,  and  hear  its  meanings  interpreted.  This  implies  a 
stage  technically  adapted  to  these  needs  of  eye  and  ear. 

(At  a  cost  of  $25,000,  Saint  Louis  has  built  such  a  stage  —  a 
stage  of  land  and  water,  the  largest  of  its  kind  in  the  world  — 
provided  with  vast  sounding-boards  for  speech  and  choral  song, 
and  with  massing  spaces  for  ten  thousand  actors.) 

But  if  the  people  are  truly  to  imagine  their  life  drama,  they 
must  not  merely  behold  and  hear  it.  Representatively  they 
must  themselves  enact  and  interpret  it.  The  poet-dramatist 
must  be  called  in  as  engineer,  but  the  people  must  provide  in 
themselves  his  creative  material. 

(Saint  Louis  has  thus  provided  several  hundred  men  and 
women  as  working  organizers,  and  seven  thousand  of  its  citizens 
as  actors.) 

But  now  arises  the  crux  of  the  engineer's  problem. 

A  huge,  half-socialized,  modern  multitude,  unused  by  exper 
ience  to  imagining,  is  now  gathered  for  the  definite  purpose  both 
to  imagine  and  interpret  the  visioning  of  the  civic  dramatist. 

To  solve  this  special  problem  in  crowd  psychology  —  what 
method  shall  the  dramatist  adopt? 

As  a  pioneering  step  toward  a  solution,  the  method  of  Pageant 
and  Masque  (in  correlated  sequence)  is  being  tested  in  Saint 
Louis.  Its  principle  is  to  lead  the  attention  of  large  masses  from 
the  more  specific  and  familiar  images  of  reality  to  images  less 
familiar  and  more  general,  by  a  means  of  increasing  dramatic 
tensity. 


PREFACE 


Thus  in  my  Masque  it  is  my  object  to  set  forth,  in  symbolic 
form,  the  national  and  universal  meanings  underlying  the  Pag 
eant. 

In  his  Pageant  Mr.  Stevens  will  emphasize,  and  marshal 
movingly  in  onward  flowing  episodes,  the  more  local  and  his 
toric  meanings  of  human  life,  as  that  life  has  been  enacted  by 
successive  generations  on  or  near  the  locality  of  Saint  Louis. 
Necessarily  and  appropriately  the  emphasis  of  the  Pageant  will 
be  upon  a  selection  of  actual  local  occurrences,  and  its  dialogue 
will  be  more  or  less  literal  and  naturalistic.  At  its  conclusion, 
the  audience  will,  as  it  were,  have  witnessed  from  a  hill-top  (not 
too  distant  for  the  recognition  of  personalities  in  the  groupings) 
the  social  life  of  their  city  from  its  beginnings. 

Thus,  then,  at  the  point  of  the  Pageant's  conclusion  it  be 
comes  the  function  of  the  Masque  to  adopt  another  scale  of  out 
look,  and  to  relate  that  local  life  to  larger  national  and  world  life. 
In  other  words,  the  Masque  will  seek  to  remove  the  audience  in 
imagination  from  its  hill-top  to  a  viewpoint  of  even  larger 
vantage  —  let  us  say,  to  the  bird's-eye  view  of  the  horizon's  rim. 
There  another  and  distinctive  method  of  appeal  must  be  adopted 
by  the  dramatist  —  the  method  of  symbolism. 

In  conceiving  my  Masque,  therefore,  I  have  taken  the  his 
torical  material  available  to  the  Pageant  master,  and  —  submit 
ting  that  to  drastic  eliminations — selected  only  such  elements  of 
local  history  as  take  on  national  and  world  significances.  These 
I  have  interpreted  dramatically  by  means  of  a  very  few  sym 
bolic  characters,  who  are  themselves  the  spokesmen  of  great 
mass-groupings. 

To  make  clearer  this  difference  of  method  in  Pageant  and 
Masque,  let  me  exemplify: 

In  the  Pageant  are  presented  as  important  persons  of  the 
white  man's  civilization  at  Saint  Louis  such  local  leaders  as 
Pierre  Laclede,  Governor  Piernas,  St.  Ange,  Auguste  Chouteau, 
Daniel  Boone,  etc. 

In  the  Masque,  on  the  other  hand,  none  of  these  historical 
persons  appears,  but  —  expressive  of  their  several  leaderships, 

xi 


PREFACE 


as  well  as  of  the  racial  and  human  forces  of  millions  of  their 
fellow  citizens,  during  those  successive  generations  —  there  rises 
in  my  Masque  the  single  symbolic  figure  of  Saint  Louis. 

Again,  in  the  Pageant  certain  particular  fights,  skirmishes, 
wars  are  dramatized  or  touched  upon  in  historical  episodes. 

In  the  Masque  these  are  not  introduced  or  referred  to,  but 
instead  —  typical  of  that  menacing  human  force  which  underlies 
them  all — there  occurs  a  scene  of  dramatic  spectacle  and  conflict 
of  which  again  a  single  large,  symbolic  figure  —  the  War  Demon 
—  becomes  the  spokesman  of  his  vast  group,  in  opposition  to 
Saint  Louis,  who  champions  the  counter  forces  of  his  contrasted 
groups. 

Visually,  then,  the  outward  symbols  available  to  the  Masque- 
maker  differ  largely  from  those  available  to  the  Pageant- 
maker.  The  armies  of  the  War  Demon  may  appropriately  be 
clothed  and  equipped  with  any  martial  insignia,  costumes, 
heraldry,  harmonious  with  the  dramatic  idea.  For  them  the 
historical  uniforms  of  American  soldiery  would  not  be  adequate 
or  appropriate. 

By  the  same  principle,  Saint  Louis  appears  in  armor  symbolic 
of  a  young  crusader  in  the  cause  of  social  civilization,  though 
the  costume  which  he  wears  has  probably  never  been  worn 
historically  on  the  geographical  site  of  Saint  Louis. 

Being  thus  free  to  ignore  all  literal  minutiae  of  history, 
in  form  the  Masque  is  more  focussed  and  unified  than 
the  Pageant  can  necessarily  be.  The  scope  of  its  form  and 
the  inner  relationship  of  its  parts  are  determined  wholly  by  the 
mind  of  its  maker  reacting  on  the  materials  of  history  at  his 
disposal.  In  short,  the  Masque  becomes  a  special  form  of 
drama,  technically  adapted  —  through  range  of  eye  and  ear  —  to 
the  special  conditions:  in  this  case  to  an  auditorium  and  stage 
vast  in  scale. 

While  to  the  eye  the  Masque  should  be  always  a  moving 
decoration,  and  to  the  ear  a  pleasing  harmony  of  sound,  to  both 
it  should  be  essentially  a  human  drama,  interpretive  of  the 
large  meanings  of  that  life  which  is  its  poetic  theme. 

xii 


PREFACE 


The  theme  of  my  Masque  is  the  fall  and  rise  of  social  civiliza 
tion. 

Interpreting  symbolically  the  historical  material  of  Saint 
Louis,  I  have  conceived  the  national  and  world  meanings  of 
that  material  as  revealing  the  lapse  and  resurgence  of  man  in 
the  evolution  of  a  more  highly  socialized  state. 

For  centuries,  perhaps  for  ages,  the  Mound  Builders  sustained 
on  this  continent  —  notably  on  the  site  and  in  the  vicinity  of 
Saint  Louis  —  a  civilization  of  a  comparatively  high  order,  con 
temporary  with  the  Maya  and  Aztec  civilizations  to  the  south. 

To  interpret  this  mound-building  society  on  the  scale  of  its 
world  meanings  in  the  Western  Hemisphere,  I  make  use  of  a 
single  symbolic  figure  —  Cahokia,  who  stands  for  the  pinnacle 
of  the  social  aspirations  of  the  Indian  race,  regarded  ethnologi- 
cally.  The  fall  of  this  mound-building  civilization  took  place 
through  the  invasion  not  of  human  agencies,  but  of  wild  nature 
forces  —  the  invasion  of  the  hordes  of  the  bison.  Because  of 
that  invasion  (according  to  the  now  accepted  theory  of  the 
archeologists),  the  Indian  race  lapsed,  and  reverted  from  a  stage 
of  agriculture  and  many  simple  social  crafts  and  arts  to  the 
nomad  hunting  stage  of  man.  In  that  reverted  social  state 
tribes  of  their  descendants  were  discovered  by  Columbus  and 
the  early  European  explorers. 

My  Masque,  then,  opens  at  that  significant  world-moment 
when  Cahokia  —  a  lonely,  tragic  figure,  symbolic  of  the  fallen 
mound-building  civilization  —  rises  before  his  ruined  temple, 
surrounded  and  threatened  by  the  Elements  and  the  Wild 
Nature  Forces,  among  which  his  own  kin,  now  degenerated  to 
nomads  forgetful  of  their  former  social  empire,  mingle  their 
savage  rites  with  the  menacing  powers  of  chaos. 

How,  with  the  coming  of  the  white  man,  my  theme  deals  with 
the  hopeful,  resurgent  powers  of  civilization,  and  with  the  forces 
of  Gold,  War,  and  Poverty,  which  in  turn  rise  in  the  path  of 
that  civilization  —  the  Masque  itself  sets  forth.  Here  it  is 
enough  to  say  that  the  Masque  technically  expresses  its  theme 
by  means  of  a  few  large  rhythmic  mass-movements  of  onward 

xiii 


PREFACE 


urge,  opposition,  recoil,  and  again  the  sweep  onward  towards  its 
alluring  goal  —  an  harmonious  socialized  state  of  human 
society. 

It  is  also  pertinent  to  point  out  that,  for  this  world-scale 
interpretation,  all  symbols  of  the  Red  Race  at  its  highest  social 
status,  as  well  as  of  the  White  Race,  are  appropriately  available 
to  the  stage  production  of  the  Masque;  and  hence  the  use  it 
makes  of  symbols  both  of  the  Maya  and  Aztec  civilizations  of 
the  Red  Race,  and  of  the  ancient,  mediaeval,  and  modern  civili 
zations  of  the  White  Race. 

So  much,  then,  for  the  technique  and  theme  of  my  Masque. 

The  execution  of  it  implies  a  work  of  cooperation  among  the 
technical  artists  in  charge  of  the  production  and  the  citizens  of 
Saint  Louis  —  a  cooperation  in  which  the  artists  share  a  happy 
zest  and  enthusiasm. 

The  technical  work  is  apportioned  as  follows: 

For  the  Masque  itself,  conceived  and  written  by  me,  I  have 
devised  a  structure  of  dramatic  architecture  of  which,  so  to 
speak,  the  building  materials  are  visual  spectacle,  pantomime, 
choral,  and  instrumental  music,  spoken  and  chanted  poetry,  and 
the  dance. 

The  nature  of  these  materials  makes  clear  at  once  that  the 
resulting  edifice  must  be  executed  by  a  cooperation  of  technical 
artists;  and  in  this  I  am  very  fortunate  in  having  the  association 
of  Mr.  Joseph  Lindon  Smith  and  Mr.  Frederick  S.  Converse. 

With  both  these  artists  I  have  had  the  pleasure  of  working 
harmoniously  before:  with  Mr.  Smith  in  the  production  of  my 
Bird  Masque,  and  with  Mr.  Converse  —  in  addition  to  that 
masque  —  in  the  production  of  my  play  "Jeanne  d'Arc"  and 
the  writing  of  two  operas. 

Mr.  Smith,  distinguished  for  his  work  in  the  staging  of  many 
pageants  and  outdoor  plays,  brings  to  the  Masque  his  expert 
knowledge  of  costuming,  staging,  and  lighting. 

Mr.  Converse  has  composed  for  it  all  of  the  music,  consisting 
of  sung  choruses,  chants,  dance  music,  and  incidental  orchestra 
tion. 

xiv 


PREFACE 


Thus  cooperation  —  which  is  the  human  theme  of  the  Masque 
—  has  entered  into  its  production  from  the  start,  and  is  steach'ly 
widening  out  to  an  extension  which  hopefully  will  embrace  the 
whole  of  a  great  modern  city,  and  through  Saint  Louis  to  the  in 
terested  attention  of  all  American  cities,  and  even  across  the 
seas  to  those  of  England  and  Europe.  For  I  think  before  we 
have  completed  the  large  and  exhilarating  task  before  us,  we 
shall  realize  that  we  have  only  begun  a  work  of  civic  art  and 
popular  expression  which  will  create  splendid  national  and  inter 
national  reactions  in  the  years  to  come. 

Best  of  all,  in  Saint  Louis  itself  are  many  thousand  uncel 
ebrated  and  sincere  fellow  Americans  —  workers  in  all  fields  of 
industry  and  human  enterprise,  vital  with  the  life  which  alone 
can  bring  successful  achievement  to  the  dreams  of  civic  artists: 
to  these  —  both  for  the  alleviation  of  what  is  humdrum  in  their 
lives,  and  for  the  expression  of  their  own  too-stifled  dreams  —  to 
these  we  look  for  fellowship  and  goodwill  in  our  festival  task. 

Cooperation,  then,  is  the  watchword  of  Saint  Louis  in  this 
plan  of  civic  art.  Art  itself  is  a  word  too  long  made  strange 
to  the  man  and  woman  of  daily  work.  Well,  then,  henceforth 
let  it  become  less  strange  —  and  translated.  Another  word  for  it 
is  happiness  —  the  joy  of  expressing  ourselves  nobly,  whoever  we 
are.  Cooperation  is  another  word  of  the  scholars  and  econo 
mists.  The  man  on  the  street  has  a  plainer  word  for  it:  "get 
together."  When  throughout  our  country  all  of  us  shall  get 
together  for  a  real  civic  art,  there  will  be  a  constructive  revolu 
tion  in  America  —  a  renascence  of  joy  in  the  Ufe-work  and  lei 
sure  of  every  man,  woman,  and  child. 

Not,  however,  merely  to  generalize  in  hopes  for  this,  the 
Saint  Louis  committee  is  preparing  to  take  a  definite,  significant 
step  toward  its  accomplishment.  This  step  is  the  plan  to  hold 
at  Saint  Louis,  in  connection  with  the  May  production,  a 
unique  civic  conference. 

The  idea  for  this  conference  suggested  itself  to  me  by  reason 
of  the  marked  success  of  a  conference  on  "The  Drama  and 
Conservation,"  held  in  connection  with  the  production  of  my 

xv 


PREFACE 


Bird  Masquein  New  York  (February  24,  1914)-  On  that  occasion, 

naturalist's,  museum  directors,  ^^^JS^SSSSA 

vened-forperhapsthefirsttime-withartists  of  the  theat 

^common  purpose:  to  discuss  the  civic  uses  of  dramatic  art  as 
means  for  riving  expression  and  publicity  to  important  public 
causes  Sated  to  the  conservation  of  wild  life  and  natural  re 
sources  This  theme  was  discussed  from  many  viewpoints  by 
men  and  women  notable  in  both  fields,  with  enthusiasm  and  m- 

^nlike  manner  then  -  as  related  to  the  theme  of  theMasque 
he  e  pubSd  -  it  occurred  to  me  to  suggest  to  the  SamtLouis 
committee  the  following  plan  which,  being  heartily  endorsed 
and  adopted  by  them,  has  resulted  as  follows: 

The  theme  of  the  Masque  culminates  in  a  symbolic     league 
of  the  cities  "    But,  back  of  the  symbol,  the  Saint  Louis  pro- 
dution  plants  the  reality.    For  the  actors  who  ^personate 
the  cities  in  the  Masque  are  envoys,  offi  cially  appomted  by  the 
mayors  of  the  several  cities.    Thus  by  special  ™itationtt 
Mayor  of  Saint  Louis  has  requested  the  mayor  of   he  :  large* 
city  of  each  state  in  the  Union  (as  well  as  the  chief  cities  in 
South  America  and  Canada)  to  send  an  official  envoy  -  a  man 
in  each  case,  representative  in  the  field  of  civic  art  -  whos 
function  it  is  to  act  in  the  Masque  by  night  and  to  sit  in  con- 

fl^e  dateof  this  Preface,  acceptances  are  coming  in  daily. 
Mayor  Mitchell  of  New  York,  for  instance,  has  recently  ap 
pointed  Mr.  Henry  Bruere,  City  Chamberlain,  as  specia 

idea  of  the  conference  might  be  summed  up 


thOvic  pageants  and  masques  are  forms  of  an  ancient  art,  newly 
rediscovered,   involving  an  expert  method  for  promoting  soh- 

'^^^^^^^^^^^^ 

he  fine  arts  mth  the  commumty 


invTe  t^cooperatio;  of  all  the  fine  arts  with  the  community 

spirit  of  all  citizens. 

xvi 


PREFACE 


In  connection,  therefore,  with  the  production  of  "The  Pageant 
and  Masque  of  Saint  Louis,"  there  is  held  a  three  days'  confer 
ence,  at  which  envoys  from  the  chief  cities  of  the  Western  Hemi 
sphere  meet  with  others  who  are  interested  to  discuss  various 
aspects  of  this  central  issue,  namely: 

The  civic  drama:  Shall  it  be  recognized  and  established  as  the 
most  effectual  means  for  the  art  expression,  publicity,  and  co 
operation  of  modern  cities? 

From  such  a  conference  of  cities,  representing  states  and 
nations,  vital  and  permanent  reactions  may  well  be  anticipated. 
It  is  the  hope  of  the  Saint  Louis  committee  that  all  workers  in  the 
cause  of  sociology  and  of  art,  who  can,  will  attend  it.  More 
than  any  other  feature  of  the  city's  festival,  it  lends  practicality 
and  prophecy  to  the  theme  of  this  Masque. 

In  the  cause  of  war,  cities  before  now  have  banded  themselves 
together  for  defence  or  aggression  But  never  perhaps  before 
this  have  official  envoys  convened,  and  acted  their  parts  in 
symbol  and  reality,  to  create  for  civic  art  a  League  of  the  Cities. 

PERCY  MACKAYE. 
New  York, 
March  28, 1914. 


xvu 


PERSONS  AND   PRESENCES  IN 
THE  MASQUE* 

PERSONS 
i.    SPEAKING  PERSONS 

CAH6KIA  (I). 

Mississippi  (I). 

Saint  Louis,  the  Child  (I). 

The  One  with  the  Lions      1 

The  One  with  the  Lilies      I  Discovereis  (I). 

The  One  with  the  Cross      J 

SAINT  LOUIS,  the  Youth  (II). 

The  Pioneer  (II). 

Gold  (II). 

Europe  (II). 

War  (II). 

Poverty  (II). 

Washington  (II). 

New  York  (II). 

San  Francisco  (II). 

Chicago  (II). 

New  Orleans  (II). 

Denver  (II). 

Honolulu  (II). 


Spokesmen  of  the 
League  of  Cities 


*As  here  used,  Persons  symbolize  forces  of  geography  and  history  past 
and  present; 

Presences  symbolize  forces  of  nature  and  imagination. 

The  Roman  Numerals  signify  that  the  Persons  and  Groups  appear  in 
Part  I  or  Part  II  of  the  Masque.  If  they  appear  in  the  Prelude,  or  Interlude, 
the  same  is  indicated  in  brackets. 

xk 


PERSONS  AND  PRESENCES 


2.    CHORAL  GROUPS 

The  River  Spirits  (I). 
The  Latin  Nations  (I). 
The  Mediaeval  Church  (I). 

The  Pioneers  (II). 
The  Earth  Spirits  (II). 
The  World  Adventurers  (II). 
The  War  Demons  (II). 
The  Dark  Pageant  (II). 

3.    PANTOMIME  PERSONS 

The  Pioneer  Wrestler  (II). 
The  Tourney  Rider  (II). 
The  Brooding  Child  (II). 

4.    PANTOMIME  GROUPS 

Pioneer  Wrestlers  (II). 

Earth  Spirit  Wrestlers  (II). 

Europe  (II). 

Africa  (II). 

Asia  (II). 

Australia  (II). 

The  Ocean  Islands  (II). 

The  Knights  (World  Adventurers)  (II). 

Cities  of  the  Rivers  (II). 

Cities  of  the  Lakes  (II). 

Cities  of  the  Eastern  Sea  (II). 

Cities 'of  the  Western  Sea  (II). 

Cities  of  the  Mountains  (II). 

Cities  of  the  Islands  (II). 

Group  of  the  Federal  Capital  (II). 

Cities  of  South  America  (II). 

Cities  of  Canada  (II). 

Cities  of  England  and  Europe  (II). 

xx 


PERSONS  AND  PRESENCES 


PRESENCES 


i.    SPEAKING  PRESENCES 

WASAPEDAN,  The  Great  Bear  (I,  II). 

Imagination  (II). 


2.    CHORAL  PRESENCES 

[SINGLE] 

Hiloha  —  The  Element  of  Heat  (I,  II). 
Noohai  —  The  Element  of  Cold  (I,  II). 

[GROUPS] 

The  Wild  Nature  Forces  (I). 
THE  STARS  (I,  II,  Interlude). 


3.    PANTOMIME  PRESENCES 

[SINGLE] 

The  Life  Spirit  (Interlude). 
The  Eagle  (II). 

[GROUPS] 

Spirits  of  the  Mound  Builders  (Prelude). 

Elves  (I). 

Will-o'-the-Wisps  (I). 

Dryads  (I). 

Fauns  (I). 

Spirits  of  the  Years  (Interlude). 

xxi 


CHORAL  SONGS 


CHORAL  SONGS* 

Chorus  of  the  Wild  Nature  Forces  (I). 
Star  Chorus  to  the  Great  Bear  (I). 
Chant  of  the  River  Spirits  (I). 
Hymn  of  the  Latin  Nations  (I). 

Star  Chorus  of  the  Climbing  Years  (Interlude). 

Chorus  of  the  Pioneers  (II). 
Chorus  of  the  Earth  Spirits  (II). 
Chorus  of  the  World  Adventurers  (II). 
Dirge  of  the  Women  in  Dun  (II). 
Star  Chorus  of  the  World  Builders  (II). 


THE  ACTIONf 


THE  TIMEJ 

From  the  prehistoric  age  of  the  mound-builders  in  America 
to  the  present. 

*See  Appendix,  page  88. 
fSee  Appendix,  page  90. 
JSee  Appendix,  page  92. 


xxn 


THE  SCENE 

The  immediate  foreground  is  a  wide  band  of  water  curving 
backward  with  symmetrical  sweep  and  disappearing  behind 
foliage. 

Beheld  across  this  water,  the  foreground  of  the  stage  is  a 
vast  plaza-space  between  two  high  towers. 

At  centre,  from  the  water's  edge,  wide  steps  of  stone  ascend 
to  the  stage's  level. 

In  the  middle-ground,  at  centre,  rises  a  flattened  mound,  to 
the  level  top  of  which  rough  steps  lead  up  from  the  plaza. 
Rising  from  this  mound-top  level,  steps  mount  to  the  entrance 
of  a  roofed  shrine  in  semi-ruin.  In  this  is  a  door  with  stone 
lintel.  Above  the  roof  is  sculptured  a  huge  semicircular  sym 
bol  in  stone. 

From  the  plaza  at  equal  distances  to  right  and  left,  two  lesser 
mounds  rise  bare. 

In  the  background  the  facade  of  a  great  temple  with  two 
side  wings  (Mayan  in  architecture)  shuts  off  the  horizon.  In 
these  wings  are  gates  of  two  wide  entrances  to  the  plaza.  Near 
the  top  of  the  facade,  along  its  full  length,  runs  a  stone  jut,  like 
the  top  of  a  Cyclopean  wall. 

Shrine,  temple,  and  towers  resemble,  in  their  architecture  and 


THE   SCENE 


carvings,  the  ancient  Aztec  and  Mayan  relics  of  Central  Amer 
ica,  in  type  Egyptian. 

All  the  foregoing  features  of  the  scene,  however,  are  invisible 
when  the  Masque  begins,  and  are  only  gradually  revealed  by 
mystic  lightings  during  the  early  course  of  the  action. 


PRELUDE 

CAHOKIA'S  DREAM* 

Out  of  complete  darkness  mysterious  music  rises,  pre 
lusive  to  the  appearance  of  a  visionary  scene  on  the  plaza. 

There,  before  the  central  mound  (as  the  music  continues, 
descriptive),  Spirits  of  the  Mound-Builders  perform  the 
ceremonies  of  a  prehistoric  ritual. 

Slowly  the  dreamy  ceremony  disappears,  gathered  back 
into  the  night,  leaving  only  the  smoke  of  the  smoldering 
ritual  fire. 
*For  fuller  description  see  Appendix,  page  85. 


THE  MASQUE 
PART  I 

Now  in  total  darkness,  the  mood  of  the  music,  changing, 
sweeps  to  a  wild  burst  of  brass  and  wood-winds,  mingled 
with  rolling  thunder. 

Simultaneously,  as  from  mid-air,  appear  from  tops  of  the 
towers  two  vast  male  figures,  vaguely  illumined  —  Hiloha 
and  Noohai,  the  Elements  of  Heat  and  Cold. 

From  Noohai  —  sculptured  all  of  ice  —  gusts  of  snow  and 
sleet  fall,  flurrying.  The  other,  Hiloha,  carved  as  from 
flame,  is  swathed  in  cloud,  through  which  sharp  light 
nings  flicker. 

From  both  these  elemental  figures  bursts  a  great  choral 
cry  —  each  answering  each  through  thunder — and  the  voice 
of  each  is  as  a  male  choir,  crying  "Cahokia!" 

At  their  cry,  a  shaft  of  lightning  reveals  Cahokia  plucked 
out  of  darkness  on  the  mound  below.  Risen  from  behind 
the  ritual  smoke,  he  appears  there  a  colossal  masked  form,* 
garbed  like  an  Aztec  Indian  priest,  seated  alone  before 
the  temple-shrine. 

Below  him,  mysterious,  half-seen,  at  foot  of  the  mound  — 
crouched  on  its  farther  sides,  and  lurking  in  the  dark  back 
ground  —  brute-headed  forms  of  the  Wild  Nature  Forces 
move  and  mingle  with  glimmering  limbs  of  savages. 
*See  Appendix,  page  88. 

5 


SAINT  LOUIS:  A  MASQUE 


Cahokia  sits  with  lifted  face. 

Illumined  intermittently  by  storm-flashes,  he  raises  his 
arms  and  answers  the  cry  of  the  Elements. 

THE  ELEMENTS 
Cahokia!  —  Cahokia! 

CAHCKIA 

Hil6ha,Hil6ha,Noohai! 
Eternal  fire,  eternal  cold, 
I  feel  you,  and  defy. 

THE  ELEMENTS 
Cahokia!    Cahokia! 

CAHOKIA 

Ai-ya!    Alone  — 
Alone  above  the  desert  hemisphere 
I  rise  from  out  my  temple  mound 
And  'wait  the  coming  world. 

THE  ELEMENTS 
Cahokia! 

CAH6KIA 

Hearken,  Hiloha !    Wind  of  fire ! 
Hear  me,  Noohai,  Lord  of  cold ! 

[As  he  speaks,  the  memories  he  describes  are  made  visual 
by  flitting  vistas  of  scenes,  illumined  momentarily  on  the 
night  background.] 


SAINT  LOUIS:  A  MASQUE 


Ten  thousand  moons,  I  reigned.     Ten  thousand  moons 

My  vanished  people  piled  these  mounds 

'Mid  prayer  and  sacrifice  —  for  me, 

For  me,  their  father  and  their  sagamore. 

And  here  I  blessed  their  rites  with  social  arts 

And  solemn  festivals, 

Till  all  their  mounded  homes  were  hives  of  song 

Stored  with  wild  honey  of  the  earth  and  stars. — 

Ai-ya !     Where  hive  they  now?    On  golden  dawns 

Who  hears  their  seeding-song  and  harvest  hymn? 

Ai-ya !    Their  thousand  moons 

Are  ashes,  and  my  empire  is  a  dream. 

THE  ELEMENTS 
Cahokial 

CAHOKIA 

Hearken,  Hiloha,  Noohai! 
You  now  who  mock  me  — 
You  have  destroyed  them, 
My  people !  —  Out  of  your  icy 
Caverns,  Noohai,  you  loosened 
The  billowing  herds  of  your  bison 
Over  my  cornlands,  and  wallowed 
My  beautiful  gardens.  —  Hiloha, 
You,  then,  you  in  your  flame-cloud 
7 


SAINT  LOUIS:  A  MASQUE 


Rose  with  your  rivers,  and  flooded 
My  broken  hives  and  my  ruined 
Temples.    Ai-ya,  my  people ! 
Where  are  the  tribes  of  Cahokia? 
Lo,  where  the  trails  of  twilight 
Hide  them,  naked  and  scattered, 
Luring  them  backward  —  backward 
Deeper  in  primal  darkness, 
Masking  with  brutes,  and  mating 
In  lairs  of  the  jungle.    Lo,  now, 
They  have  forgotten  their  lordly 
Arts  and  the  songs  of  my  altar  — 
All  their  great  brotherhood.    Yea,  now, 
They  have  forgotten  Cahokia, 
Me  —  me,  their  father ! 

[Below  him,  from  the  dim,  crouching  forms,  breaks  a  low 
choral  cry,  mingled  with  wolf-barks,  whinnying  noises  of 
beasts,  and  the  far  war-yells  of  savages.] 

THE  WILD  NATURE  FORCES 
Pooloo-pooloo-nool! 

CAHOKIA 

Hark  where  they  call  now 
Gods  of  their  chaos! 
8 


SAINT  LOUIS:  A  MASQUE 


THE  WILD  NATURE  FORCES 
Tee-hooklerrdh-tee! 

CAH6KIA 

They  have  forgotten  me! 

[Amid,  gusts  of  screaming  wind,  Hiloha  and  Noohdi  on 
the  high  towers  renew  their  lightning  and  thunder  and 
hailing  snow. 

From  below,  the  dissonant  chorus  rises  harsher.] 

THE  WILD  NATURE  FORCES 
Ydsca  soomoohan 

Noohdi! 
Pooloo-pooloo-nool 

Hiloha! 

Wdssoo  shahdygan 
Tee-hooklerrdh-tee 

Noosdi! 

CAHOKIA 

0  Night,  and  barking  voices  of  wild  fear, 
Cry  to  your  chaos! 
Strike  me,  Hiloha !    Freeze,  Noohai ! 
Still  I  defy  you! 
For  still  I  dream  —  and  wait; 

9 


SAINT  LOUIS:  A  MASQUE 


And  watchful  dreaming  overcomes  the  world. 
A  thousand  moons  —  they  are  a  thousand  sparks 
Blown  from  the  kindled  pipe  of  dreaming  Time. 
Around  his  brow  the  cloudy  incense  curls, 
The  clay  bowl  belches,  the  red  lavas  glow, 
And  ashes  darken  as  the  dreams  are  born  — 
The  dreams  are  bora  and  rise  from  ruined  worlds. 

Ai-ya,  my  people  departed! 

Ai-ya,  my  temples  forgotten! 

Yet  am  I  patient.  — 

Darken,  Hil6ha !    Fade,  Noohai ! 

Still,  still  beyond  you 

Glitter  the  glorious  tribes  of  dreams  eternal ! 


[While  he  has  spoken,  the  fading  apparitions  of  the  Ele 
ments  on  the  towers  have  vanished.  And  now,  gradually 
—  far  up  in  the  background  above  the  Cyclopean  wall  of 
the  temple-fagade,  and  ranged  glittering  on  its  ramparts  — 
appear  the  Spirits  of  the  Stars,  grouped  in  their  constella 
tions:  Orion,  the  Pleiades,  the  Scorpion,  etc.  Highest 
over  all  —  a  vast,  silhouetted  bulk  on  the  sky,  twinkling 
with  the  seven  lights  of  the  "  Dipper  "  —  looms  Wdsapedan, 
the  Great  Bear. 

While  they  are  yet  dawning,  the  Stars  in  chorus  break 
into  song  —  like  the  far  carolling  of  choir-boys.] 

10 


SAINT  LOUIS:  A  MASQUE 


CHORUS  OF  THE  STARS 

Wdsapedan!    Wdsapedan! 

Wake  from  your  lair! 
Watch  through  the  dark  your  wild  and 
desert  places: 

Wonder  is  there. 

CAHOKIA 

Lo,  now,  they  rise  in  dreams  and  overwhelm  you, 
Hiloha,Noohai! 

Hark,  now,  I  hear  them  chanting,  and  Wdsapedan, 
Eternal  watcher  of  the  lidless  eyes, 
Wakes  from  his  lair  of  stars. 

CHORUS  OF  THE  STARS 

Wdsapedan,  the  world  is  dim, 
The  way  to  beauty  is  far  —  is  far, 
And  man,  whose  soul  is  a  climbing  star, 
Man  our  brother  —  0  comfort  him! 

We,  his  watchers,  we  wheel  in  choir 
Of  freedom  calm  and  harmonious, 
But  man,  who  reaches  and  cries  to  us  — 
His  guide  is  tempest,  his  paths  are  mire. 

Slowly  he  builds  his  golden  hives, 
But  the  wild  bees  swarm  to  the  winds  again; 
ii 


SAINT  LOUIS:  A  MASQUE 


His  towers  they  crumble,  his  toil  is  vain; 
The  sowers  vanish,  the  seed  survives. 

Wasapedan,  his  ways  are  dim, 

But  ours  are  shining,  ethereal: 

And  we,  who  hear  him,  his  darkling  call  — 

Our  star-born  brother!  —  will  comfort  him. 

CAHOKIA 

O  Voices  of  this  solemn  night,  my  soul! 
O  singing  clans  of  darkness,  grouped  in  glory! 
You  olden  bards 

Immortal  as  the  childhood  of  the  earth, 
You,  you,  my  elder  brothers,  ever  young! 
Sing  me  your  tidings ! 

And  you,  O  Wasapedan,  ancient  Bear, 

Who  by  the  Milky  Way 

Watch  with  your  sevenfold  eye  the  shimmering  world — 

Tell  me  what  you  behold  beneath  your  gaze, 

O  Wasapedan! 

WASAPEDAN 

[His  voice  is  a  deep  male  voice,  echoed  by  choir-boy 
voices  in  antiphony.] 

Hope  I  behold,  Cahokia. 

CAHOKIA 

What  is  the  hope  you  behold  there? 
12 


SAINT  LOUIS:  A  MASQUE 


WASAPfiDAN 
Life  and  new  labor. 

CAHOKIA 

Who  brings  me 
Life  out  of  death? 

WASAPfiDAN 

Mississippi. 

CAHOKIA 

How  shall  his  spirit  restore  me 
Seed  for  new  harvest? 

WASAPfiDAN 

He  wanders 
To  ends  of  the  earth. 

CAHOKIA 

But  what  token 
Has  he  attained  there? 

WASAPEDAN 

A  child. 

CAHOKIA 

Ha! 

Child  of  my  loins  —  of  my  red  race 
13 


SAINT  LOUIS:  A  MASQUE 


Shall  he  restore  me,  to  build  now 
Mounds  for  my  temples  once  more? 

WASAPfiDAN 

Nay! 

Child  of  a  new  race  he  brings  you  — 
Pale  as  a  star-child,  and  starry 
Glitters  the  sword  in  his  hand. 

CAHOKIA 

Now 

Speak,  W£sapedan !    What  means  his 
Sword  and  its  mission? 

WASAPfiDAN 

He  brings  it 

To  fight  for  the  rights  of  the  star-born  - 
Freedom  and  brotherhood. 

CAHOKIA 

So,  then, 

He  shall  inherit  my  battles 
Bolder  to  wage  them,  and  nobler 
Temples  to  build  on  my  mound-tops. 
O  Wasapedan,  my  heart  beats 
Higher  to  welcome  him.    When,  ah, 
When  shall  I  greet  him? 
14 


SAINT  LOUIS:  A  MASQUE 


WASAPfiDAN 

Behold  him! 

Lo,  where  the  Father  of  Waters 
Brings  now  the  white  child ! 

[From  the  sky  region  of  the  Bear,  a  shooting-star  flies 
trailing  across  the  dark  and  falls  beyond  the  bend  of  the 
waters  on  the  south.  Following  it  with  his  gaze,  Cahokia 
gives  a  long,  joyous  cry.] 

CAHOKIA 

El-a-ho! 

[Round  the  far  bend  of  the  waters  appears  the  prow  of 
an  immense  canoe,  fantastic  with  totem  carvings  and  an 
cient  Mayan  symbols.  In  the  painted  prow  stands  Mis 
sissippi  —  a  masked  figure  of  great  stature,  murky  yellow, 
with  huge  flowing  beard  of  yellow,  and  body  adorned  with 
river-reeds. 

The  canoe  is  manned  by  his  River  Spirits,  of  whom  the 
central  group  bear  upraised  on  their  heads  and  bended 
arms  a  litter  of  rushes. 

On  this  stands  a  little  child  —  a  strong-limbed  boy  — 
with  golden  hair.  Beside  him,  perpendicular,  shines  a  co 
lossal  sword. 

Mysterious,  the  barge  comes  gliding.  With  rhythmic 
splash  of  paddles,  the  River  Spirits  raise  now  singly,  now 
in  chorus,  their  chanting  song.  Before  them  and  circling 
them  round,  dark-stained  swimmers  plunge  and  gleam  in 
the  phosphorescent  waters. 

Wasapedan  slowly  fades  from  the  sky.] 

15 


SAINT  LOUIS:  A  MASQUE 


THE  RIVER  SPIRITS 
[Chanting  as  they  come.] 

Awwa,  dwwa,  tdmunoonoo! 
Water-boy,  water-boy, 

Where  shall  we  bear  thee  ? 
Seepoo,  seepoo,  dpilossah! 
River-child,  river-child, 

Where  wilt  thou  rest  ? 

Son  of  the  sunrise, 
Born  of  the  sea-wave, 

Here  shall  thy  home  be: 
Far  in  the  sunset, 
Where  the  lone  sagamore 

Waits  in  the  west. 

Here  his  pale  cornlands 
Parch  for  thy  coming: 

Thou  shall  restore  them. 
Here  his  dim  forests, 
Marshes  and  prayer-mounds 

Greet  thee  their  guest. 

Here  shall  the  earth  spirits, 
Iron-dumb  ages, 

Sing  as  they  serve  thee; 
16 


SAINT  LOUIS:  A  MASQUE 


Here,  the  wild  eagle 
Tamed  by  thy  sky-sword 
Build  thee  his  nest. 

Awwa,  dwwa,  weeweethustin! 
Water-star ,  water-star, 

Bright  is  thy  wonder! 
Keetsoo,  keetsoo,  moiakeeta! 
Conqueror,  conqueror, 

Here  be  thy  quest! 

[Disembarking  at  the  central  steps  of  stone,  Mississippi 
moves  toward  the  mound.  Behind  him  flows,  from  his 
shoulders,  an  enormous  undulating  sachem's  cloak,  shim 
mering  with  pearly  shells,  and  upheld  by  two  score  of  his 
murky-limbed  followers.  Before  him,  high  on  the  rush- 
litter,  is  borne  the  child.  Still  at  a  distance,  Mississippi 
hails  the  giant  figure  on  the  mound.] 

MISSISSIPPI 
Eleo,Cahokia! 

CAHOKIA 

[Answering.] 
Yo,  Mississippi ! 

MISSISSIPPI 

[Approaching,  pauses  with  his  followers.] 
I  who  of  old 
Bore  to  your  people 
17 


SAINT  LOUIS:  A  MASQUE 


Magical  life 

Out  of  my  mystery, 

I  and  my  swimming 

Sons  now  have  borne  you  — 

Out  of  the  mist  — 

Hither  this  star-child. 

CAHOKIA 

Dear  is  the  star-child  — 
Darling  as  April 
To  my  dark  winter. 

MISSISSIPPI 

[Pointing  toward  the  litter  before  him.] 

Here  for  his  hand 
I  bring  this  sword-blade: 
Forged  in  star-fire 
It  fell  in  thunder 
Flaming  to  his  feet. 
To-day  too  mighty 
For  him  to  heave  it, 
Yet  on  the  morrow 
It  shall  avail  him. 
So  spoke  the  star- voice. 
18 


SAINT  LOUIS:  A  MASQUE 


CAHOKIA 

Yea,  Wasapedan's 

Tongue  has  foretold 

How  he  shall  wield  it 

For  freedom  and  brotherhood. 

[Lifted  from  the  litter,  the  child  and  sword  are  borne 
upward  on  shoulders  of  the  River  Spirits  to  the  mound's 
top,  and  placed  before  Cahokia  —the  sword  planted  upright 
in  the  earth.] 

MISSISSIPPI 

Here  on  your  ancient 
Mound  —  here  I  leave  them : 
Cherish  the  child; 
Guard  well  his  token. 

[Turning,  Mississippi  departs  with  the  Spirits,  and  re- 
embarks.  Standing  once  more  in  his  prow,  he  calls  back 
toward  the  mound.] 

Eleo,  Cahokia! 

CAHOKIA 

[Answering.] 

Yo,  Mississippi! 

[Moving  toward  the  north,  the  paddled  canoe  and  the 
swimmers  disappear  at  the  bend  of  waters,  chanting  again 
their  song: 

19 


SAINT  LOUIS:  A  MASQUE 


Awwa,  dwwa,  weeweethustin! 
Water-star,  water-star, 
Bright  is  thy  wonder! 

As  the  chant  dies  away,  Cahokia  gazes  at  the  child,  who 
stands  beneath  the  hilt  of  the  shining  sword.  While 
Cahokia  speaks,  the  child  approaches  him  and  nestles 
against  his  vast  knees.] 

CAHOKIA 

Rejoice,  O  heart  of  pain !    Be  glad ! 
My  dream  is  a  strong  child.  —  Rejoice, 
Dear  starry  voices  of  my  soul ! 
My  dream  is  a  fair  child,  and  shall  go  forth 
Amid  the  strength  of  men,  to  vanquish  there 
The  dreamless  multitudes,  and  smite 
The  blind  with  vision.  —  Sing,  O  heart  of  peace ! 
For  all  that  through  unnumbered  ages  slept 
Dark  and  unused,  has  waked  in  him,  to  build 
New  mounds  of  wonder.  —  Old !  Old !    I  am  old ! 
But  he  is  young; 

Ah,  he  is  stripling,  bold  and  wildly  fair: 
My  dream  is  a  strong  child,  and  shall  restore  me! 

[At  his  exultant  cry,  Hiloha  and  Noohai  —  on  their 
towers  —  flicker  palely  to  life  again;  quick  thunder  rolls 
menacingly;  the  Wild  Nature  Forces  crowd  forward  out 
of  the  dusk,  resuming  their  chorus.] 

20 


SAINT  LOUIS:  A  MASQUE 


THE  WILD  NATURE  FORCES 
Ydsca  soomoohan, 
Noohdil 

CAHOKIA 

[Reaching  for  the  child  in  dread.] 

Hearken!  the  tribes  of  darkness  cry  once  more. 
They  rise  to  claim  him,  too !  —  Ai-ya,  my  dream ! 
Old,  I  am  old,  and  cannot  war  to  save  thee ! 

[With  loud  veilings,  the  Wild  Nature  Forces  leap  up 
from  their  places  of  shadow,  and  from  behind  them,  through 
the  deep  entrances  at  back,  hundreds  more  of  their  fierce 
shapes  —  forms  masked  with  heads  of  wolves,  bison,  bears, 
and  horned  antelopes,  garbed  like  aborigines  in  hides  of 
beasts  —  rush  forward  tumultuous,  in  live,  rhythmic  waves, 
and  surround  the  mound.  There,  mingled  with  feathered 
Indians,  they  dance  wildly  to  the  war-beat  of  tom-toms, 
and  the  chant  of  their  ululating  cries.] 

THE  WILD  NATURE  FORCES 
Pooloo-pooloo-nool 

Hiloha! 

Wdhsoo  shahdygan 
Tee-hooklerrdh-tee 

Noosdi! 

[Circling  nearer  in  their  dance,  the  wild  forms  swarm 
upward  and  close  in  around  Cahokia  and  the  child.] 

21 


SAINT  LOUIS:  A  MASQUE 


CAHOKIA 

Ai-ya,  my  star-child ! 
Wield  thy  great  sword  now 
And  save  thee. 

[Stepping  forward  beside  the  enormous  upright  sword, 
the  child  clutches  it  with  both  hands,  and  struggles  to 
raise  it. 

Slowly  he  does  so,  staggering  beneath  its  bulk. 
\  Pausing  in  their  dance,  the  beast  faces  stare  at  him 
startled,  glowering,  murmurous. 

Returning  their  gaze  boldly,  the  child  stands  watching 
with  arms  upraised.  Holding  above  him  the  glittering 
sword,  the  huge  blade  wavers  there  and  sways  in  his 
small  grasp. 

So,  for  a  silent  instant,  he  faces  the  wild  hordes. 

Suddenly,  then,  from  the  south  bend  of  the  waters  below, 
resounds  the  deep  boom  of  a  gun. 

The  wild  forms  turn  their  heads,  harking. 

It  booms  again. 

Tossing  their  horns,  with  sharp  clamor,  the  wild  shapes 
swarm  down  the  mound  sides,  and  pause  there. 

A  third  time  it  booms.  They  rush  into  the  darkness 
and  vanish. 

Above,  on  the  mound,  the  great  sword  falls  from  the 
hands  of  the  child.] 

CAHOKIA 

[Reaching  his  arms.] 

Wonder  and  awe  they  have  saved  thee! 
22 


SAINT  LOUIS:  A  MASQUE 


Come  to  me,  star-child! 

[The  child  laughs  aloud  and  runs  to  him,  climbing  to 
his  knee.  There  he  stands  upright,  alert,  watching  the 
far  bend  of  the  waters. 

Behind  them  in  the  heavens,  the  Great  Bear  glows  again 
and  calls.] 

WASAPfiDAN 

Cahokia! 

[Hearing  the  starry  choir-voice,  the  child  starts  and 
looks  upward. 

Cahokia  points  with  his  hand. 
The  child  turns  and  gazes.] 

CAHOKIA 

Lo,  Wasapedan ! — He  watches 
Once  more  the  waters. 
[Calling.] 

Who  comes  now, 
O  Wasapedan? 

WASAPfiDAN 
Discoverers. 

CAHOKIA 

Whence  have  they  wandered?    Who  are  they? 
23 


SAINT  LOUIS:  A  MASQUE 


WASAPEDAN 
Out  of  the  loins  of  Rome, 
Sired  by  olden  Apollo, 
Sprang  they: 

Flaunting  their  lilies  and  lions, 
Speaking  with  mouths  of  fire, 
Bearing  the  cross  of  the  Crucified, 
They  wander  the  world ! 

CAHOKIA 
Dark  are  your  words  to  me. 

WASAPfiDAN 
Bright  are  their  banners! 
Behold  them! 

[Fading  swiftly,  Wasapedan  disappears. 

Below  on  the  water  a  flush,  as  of  dawn,  spreads  rapidly. 

Out  of  the  dawning  rises  the  chant  of  male  choirs,  sing 
ing  the  "  Veni  Creator."  The  sound  draws  nearer.  Round 
the  river  bend  now  enters  a  pageant  of  ships.* 

First  and  unobtrusive,  in  dusk  light,  while  Wasapedan  is 
still  speaking,  has  come  a  group  of  simple  canoes  of  bark, 
in  which  are  monks  and  priests  in  brown  and  black,  bearing 
wooden  crosses.  These  are  followed  by  a  burst  of  ruddy 
light,  through  which  emerge  the  prows  and  decks  of  medi 
aeval  galleons. 
*See  Appendix,  page  89. 

24 


SAINT  LOUIS:  A  MASQUE 


Bristling  with  spears  and  rich  standards,  mounted  with 
cannon,  flaunting  the  flags  and  insignia  of  France  and 
Spain,  the  ships  come  sailing  toward  the  steps  of  landing. 
Their  rowlocks  are  manned  with  mediaeval  sailors,  their 
decks  crowded  with  men  and  women  of  the  Latin  nations, 
brilliantly  clothed. 

In  the  central  ship  of  all,  rounding  from  the  middle 
above  the  highest  deck,  rises  a  glowing  sphere.  On  this 
is  a  group  of  three  male  figures,  masked. 

Highest  sits  one  in  black,  cowled  and  robed.  His  face 
looks  upward,  he  holds  a  cross  of  gold.  Lower  on  either 
side  two  others  sit,  gazing  far  off.  One  is  garbed  as  a 
Knight  in  semi- armor;  his  aspect  is  Spanish;  he  holds  a 
cup  in  his  hand;  beside  him  is  a  standard  with  lions.  The 
other  is  garbed  as  a  Trapper,  a  woodsman  with  head  plumed; 
his  aspect  is  French;  in  one  hand  he  holds  a  trap;  beside 
him  is  a  banner  with  lilies. 

In  the  wake  of  the  decked  ships  follows  a  group  of 
barges,  splendid  with  banners  of  the  Church,  shining  with 
silver  crosses,  scarlet  and  gold  with  ecclesiastics  and 
choirs.  From  these  choir-barges  rises  the  solemn  song  of 
"Veni  Creator  Spiritus." 

On  shore,  following  the  course  of  the  river,  a  mediaeval 
land  procession  meets  the  onward-moving  water  pageant 
at  the  central  landing. 

Disembarking  there  in  many-hued  lights  as  of  sunrise, 
the  mediaeval  groups  and  processions  of  Church  and 
Nations  mount  the  now  brightening  spaces  of  the  wide 
plaza,  and,  spreading,  range  themselves  rank  upon  rank, 
coloring  the  fore  and  middle  ground  with  stately  groupings, 

25 


SAINT  LOUIS:  A  MASQUE 


which  leave  a  broad  central  aisle  leading  to  the  steps  of 
the  mound. 

Up  this  aisle-space  from  the  shore  moves  a  dreamy 
float,  previously  disembarked  from  the  deck  of  the  central 
ship. 

The  float  consists  of  the  glowing  sphere,  darkened  by  the 
masked  figures  of  the  Discoverers.  Drawn  by  Elves  and 
Will-o'-the-wisps,  and  followed  by  groups  of  Dryads  and 
Fauns,  it  moves  to  the  foot  of  the  mound  and  pauses  there. 

Cahokia  addresses  the  figures.  The  child  climbs  down 
between  his  feet  and  stands  listening.] 

CAHOKIA 

What  heroes  are  you,  who  have  come 
Over  the  waters, 

With  chanting  strange  to  my  ears? 
You  of  the  lions,  what  are  you? 
Why  have  you  come? 

[As  Cahokia  speaks,  the  glowing  sphere  turns  dark,  and 
one  of  the  seated  figures  —  the  Knight  with  the  standard 
of  lions  —  flames  with  sudden  radiance,  and  a  trumpet 
sounds  as  he  answers:] 

THE  ONE  WITH  THE  LIONS 
Imaginers  of  the  old  world 
We  come  to  discover: 
New  fountains  of  life  are  our  quest. 
This  cup  in  my  hand  I  have  borne 
26 


SAINT  LOUIS:  A  MASQUE 


To  fill  from  your  deserts,  but  there 
The  will-o'-the  wisps  and  the  elves 
They  lured  me  to  drought. 
Yet  here  to  your  ancient  mound 
They  have  drawn  me  now,  to  do  homage 
Here  to  the  white  child. 

[As  he  concludes,  a  group  of  the  Elves  carrying  long  cat 
tails  dart  up  the  steps  of  the  mound  to  the  level  space. 
There,  as  the  child,  curious,  steps  forward,  they  encircle 
him,  dancing,  waving  their  spear-topped  rushes. 

Below,  on  the  plaza  level,  before  the  float,  the  other 
Elves  and  Will-o'-the-wisps  dance  in  mysterious  rings, 
flickering  their  swamp-lights.  Dancing  thus  for  a  moment, 
they  suddenly  cease  at  the  sound  of  a  horn.  Those  on  the 
mound  fling  high  their  cat-tail  spears  and  scurry  downward 
back  to  the  lower  level,  behind  the  float  and  the  mound. 
There  the  figure  of  the  Knight  has  grown  dark. 

The  child,  seizing  one  of  the  rush  spears  and  flinging  it 
high,  laughs  up  at  Cahokia,  who  speaks  again.  As  he 
speaks,  the  second  figure  on  the  sphere  —  the  Trapper  — 
glows  with  flame  light.] 

CAHOKIA 

And  you  of  the  lilies,  whose  call 
Is  a  winding  horn,  what  brings 
You  from  the  sunrise? 

[Again  the  mellow  horn  sounds  and  the  Figure  answers:] 
27 


SAINT  LOUIS:  A  MASQUE 


THE  ONE  WITH  THE  LILIES 

The  lure  of  the  sunset  —  the  gold 
Of  hazard,  the  joy  of  adventure: 
I  came  to  discover 
Furs  in  your  forest,  but  there 
Dryads  and  fauns  of  my  dreams 
They  followed  to  snare  me  bewildered 
And  trapped  me,  the  trapper. 
Yea,  here  to  your  ancient  mound 
They  follow  me  now,  to  do  homage 
Here  to  the  white  child. 


[As  he  stops  speaking,  a  group  of  little  Fauns  —  garbed 
as  squirrels  and  lynxes  —  spring  up  the  steps  of  the  mound 
and  gambol  before  the  child,  flaunting  their  purple  fleur- 
de-lis  in  their  dance. 

Below,  meanwhile,  on  the  plaza-space,  wild  troops  of 
Dryads  —  with  chaplets  and  zones  of  blue  lilies  —  dance 
before  the  sphere. 

The  stroke  of  a  big  bell  brings  the  dance  to  pause. 

On  the  mound  the  Fauns  shower  the  child  with  fleur- 
de-lis  and  then  scatter  downward,  all  retiring  as  before 
behind  the  mound. 

On  the  darkened  sphere  now  the  Figures  again  are  dark. 
Cahokia  speaks,  and  while  he  does  so,  the  central  cowled 
Figure  in  black  —  the  One  with  the  Cross  —  glows  upward 
as  with  purple  fire.] 

28 


SAINT  LOUIS:  A  MASQUE 


CAHOKIA 

But  you,  in  the  gown  of  night, 
Whose  call  is  a  golden  bell, 
What  fiery  sign  do  you  bring 
Yonder?  —  Why  come  you? 

[Again  the  deep  bell  sounds,  as  the  Figure  answers:] 

THE  ONE  WITH  THE  CROSS 

I  come  to  discover  —  and  heal. 

I  bring  the  Cross 

To  feed  new  tribes  with  its  fire; 

For  the  fire  I  bring  burns  not 

But  heals  the  burning; 

And  the  rod  I  bring  is  a  Shepherd's, 

And  the  lilies  He  sends  are  white, 

And  His  lilies  I  bring  now,  to  christen 

Yonder  the  white  child. 

[As  he  concludes,  choir-boys  in  vestments  of  white,  led 
by  priests  in  black,  mount  the  steps  of  the  mound,  bearing 
white  liles  and  chanting  low  the  "Veni  Creator." 

Surrounding  the  child  with  their  lilies,  they  raise  the 
fallen  sword  and  plant  it  again  upright  in  the  earth. 

Beside  it  the  child  kneels  down. 

Once  more  the  solemn  bell  sounds  as  the  One  with  the 
Cross  speaks  in  a  deep  voice:] 

29 


SAINT  LOUIS:  A  MASQUE 


Now  in  the  name  of  the  Christ, 
Brother  and  lover  of  man, 
Rise  and  receive  thy  name: 
Rise  —  Saint  Louis! 

[The  child  rises  and  touches  the  sword  with  his  hand. 
As  he  does  so,  a  burst  of  bells  peals  forth,  resounding  their 
chimes  far  across  the  water;  the  throngs  of  the  Latin 
Nations  raise  their  standards,  the  priests  their  banners,  and 
thousands  of  voices  shout  with  a  vast  shout: 

SAINT  LOUIS! 

Simultaneously  above  the  shrine,  the  semicircular  sym 
bol  of  the  ancient  ritual  crumbles  and  disappears,  and 
supplanting  it  —  out  of  the  air  —  appears  a  colossal  cross 
burning  with  white  fire. 

With  the  echoing  cry  of  "Saint  Louis"*  all  the  parti 
cipants  in  the  scene,  raising  a  hymn  in  chorus,  begin  now 
a  stately  moving  pageant,  marching  by  groups  and  blend 
ing  toward  the  huge  exits  in  the  background.  There,  as 
they  disappear,  the  hymn  dies  in  the  distance.] 

THE  HYMN 

[Chanted  by  all  in  chorus.] 

Veni,  creator  Spiritus, 
mentes  tuorum  visita, 
imple  superna  gratia 
qua  tu  creasti  pectora: 

*See  Appendix,  page  89. 

30 


SAINT  LOUIS:  A  MASQUE 


qui  Paraditus  diceris, 
donum  Dei  altissimi, 
fons  vivus,  ignis,  caritas, 
et  spiritalis  unctio. 

tu  septiformis  munere, 
dextrcz  Dei  tu  digitus, 
tu  rite  promisso  Patris 
sermone  ditas  guttura. 

accende  lumen  sensibus, 
infunde  amor  em  coribus, 
infirma  nostri  corporis 
virtute  firmans  perpeti. 

hostem  repellas  longius, 
pacemque  dones  protinus; 
ductore  sic  te  prcevio 
vitemus  omne  noxium. 

per  te  sciamus  da  Patrem, 
noscamus  atque  Filium, 
te  utriusque  Spiritum 
credamus  omni  tempore. 
31 


SAINT  LOUIS:  A  MASQUE 


sit  laus  Patri  cum  Filio, 
sancto  simul  Paraclito, 
nobisque  mittat  Filius 
charisma  sancti  Spiritus. 
Amen. 

[The  full  radiance  which  illumined  the  foreground  has 
grown  dim  with  the  departing  pageant,  and  now,  to  the  far 
echoes,  only  Cahokia  and  the  Child  (still  backed  by  the 
group  of  choir-boys)  remain  on  the  twilit  mound. 

Before  them,  the  cross-hilt  of  the  upright  sword  stands 
gleaming;  behind  and  above,  the  vaster  Cross  glows  sol 
emnly.  Beyond  it,  from  the  sky,  \Vasapedan  dawns  again. 

Cahokia  reaches  his  arms  toward  the  Child,  and  speaks 
in  deep  tones.] 

CAH6KIA 

Child  of  my  ancient  dream 
Born  from  deep  waters, 
Hearken  the  olden  voice 
That  spoke  to  me  as  a  child, 

0  little  Saint  Louis. 

SAINT  LOUIS 

[Gazing  upward.] 

1  hearken,  Cahokia! 

32 


SAINT  LOUIS:  A  MASQUE 


CAHOKIA 

[Calling  aloud.] 

Wasapedan!    Wasapedan!    Reveal 
Reveal  now  his  mission! 

WASAPEDAN 

Hearken  the  law  of  the  stars:  — 
Out  of  the  formless  void 
Beauty  and  order  are  born. 
One  for  the  all,  all  in  one, 
We  wheel  in  the  joy  of  our  dance. 
Brother  with  brother 
Sharing  our  light, 
Build  we  new  worlds 
With  ancient  fire. 
Only  together 
Lovers  are  free : 
Love  is  our  labor, 
So  labor  is  joy. 
[Wasapedan  fades  and  vanishes.] 

CAHOKIA 
Child,  dost  thou  hearken? 

SAINT  LOUIS 

I  hark! 

I  hark  —  and  will  remember ! 
33 


SAINT  LOUIS:  A  MASQUE 


CAHOKIA 

Feel,  then,  that  voice  as  a  flame 
To  kindle  the  blade  of  thy  sword. 
Fight  with  the  formless  void 
For  beauty  and  order  to  triumph.  — 
Bear  now  Saint  Louis  his  sword 
Before  him  into  my  temple  — 
Mine  now  no  more ! 
Gods  and  their  sybils  depart: 
God  is  eternal. 

[Uplifting  the  great  sword,  the  choir-boys  bear  it  horizon 
tally  before  Saint  Louis  up  the  steps  into  the  temple 
shrine.  In  the  doorway  the  Child  turns  and  stretches 
forth  his  arms  to  Cahokia,  who  calls:] 

Farewell,  Saint  Louis!  —  Remember! 

SAINT  LOUIS 
I  will  remember,  Cahokia! 

[Bending  his  arm  to  his  face,  he  goes  into  the  temple. 
For  an  instant,  on  the  tops  of  the  towers,  the  vague 
forms  of  the  Elements  flicker  ruddily. 
Low  thunder  murmurs. 

Cahokia  upraises  both  arms.  Before  him  a  mist  begins 
to  rise.  He  calls  in  the  pausing  thunder:] 

CAHOKIA 

Ai-ya,  Hiloha,  Noohai! 
You,  too,  I  leave  now. 
34 


SAINT  LOUIS:  A  MASQUE 


No  more  shall  Cahokia  dwell 
Upon  the  earth. 

His  memory  shall  be  as  a  flintshard, 
His  name  —  a  mound. 
For  now  will  I  sleep  with  my  people.  — 
O  glad  I  lie  down  with  my  people 
To  slumber  there; 
For  I  am  old,  old  —  forgotten; 
But  not  my  Dream : 

My  Dream  is  a  strong  child,  and  shall  survive 
me! 

[The  upcreeping  mists  cover  now  in  clouds  all  but  his 
lifted  face.] 

Dawn  —  dawn,  you  holy  stars! 
Hail,  Wasapedan ! 

[Swathed  now  in  the  risen  mists,  his  giant  form  is  wholly 
hidden. 

A  gust  of  wind  blows  the  mists,  dispersing  them. 
Nothing  is  there. 

Above  the  temple,  the  faint  cross  pales  and  vanishes. 
All  now  is  silence  —  and  the  dark. 


35 


INTERLUDE 


Out  of  the  dark  —  mellow,  shrilly-sweet,  far  —  sounds 
now  the  chorus  of  Stars. 

These,  as  they  dawn  in  the  background,  cluster  the  sky- 
plane  with  their  constellations. 

Meanwhile,  as  their  voices  hold  the  listening  ear,  a 
dreamy  pageant,  far  up,  lures  the  eye  of  the  beholder. 

From  behind  the  shadowy  height  of  the  temple  wings, 
a  moving  frieze  of  figures  appears,  ascending  through  solemn 
lights,  and  passes  along  the  top  from  either  wing  to  the 
centre  of  the  main  facade  —  a  frieze  symbolic  of  the  passing 
years,  the  falling,  faltering,  onward  groping  souls  of  human 
generations,  as  they  vaguely  aspire  from  the  dusk. 

Among  the  contrasted  groupings  of  Day  and  Night, 
Faith  and  Doubt,  Maid  and  Mother,  and  labor-bowed  Man, 
moves  the  Life  Spirit  —  a  flame-colored  Figure  with  wings, 
beckoning  them  onward,  and  followed  ardently  by  groups 
of  children  and  strong  youths. 


37 


SAINT  LOUIS:  A  MASQUE 


CHORUS  OF  THE  STARS 

What  of  the  years  —  the  years  — 

As  they  yearn  on  earth  ? 
Day  and  dark  are  their  gliding  tears, 
And  the  heart  of  man  is  their  urn, 
And  maiden  brings  flame  and  mother  gives  birth 

As  they  yearn. 

What  of  the  souls  —  the  souls 

As  they  climb  toward  God  ? 
Doubt  and  faith  are  their  darkling  goals, 
And  they  soar,  or  sink  in  the  slime, 
And  demon  clambers  where  angel  trod, 

As  they  climb. 

Lonely  they  wander,  apart 

From  the  joy  they  cherish: 
Lonely  of  heart 

They  perish, 

Only  to  rise  again 

At  the  fall  of  an  angel's  feather, 
Out  of  their  separate  pain 

Climbing  together. 

38 


SAINT  LOUIS:  A  MASQUE 


Lord  of  the  years  —  the  years 

As  they  yearn  from  earth, 
Life  goes  forth  with  his  pioneers, 
And  the  planets  shake  as  he  sings, 
And  out  of  the  slime  he  laughs  in  the  mirth 

Of  his  wings. 

[Attaining  the  centre  verge  of  the  fagade  wall,  the  flame- 
colored  Figure  looses  there  a  live  bird.  Instantly  around 
it,  from  the  air,  hundreds  of  other  live  wings  burst  into 
light  —  white  doves  that  hover  upward  swaying,  and  beat 
against  the  dark  in  circling  splendor. 

So,  like  a  mirage,  the  pageant  vanishes.] 


39 


THE  MASQUE 
PART  II 

Below  now  —  in  the  foreground  plane  —  the  mound  and 
temple  again  become  visible. 

Within  the  temple-shrine  slowly  a  ruddy  glow  appears 
and  increases. 

From  the  background,  low  rumbling  begins,  as  of  drums; 
from  far  off  come  male  voices  singing  in  chorus  —  a  tramp 
ling  music,  which  deepens  and  increases. 

THE  CHORUS 

Where  shall  we  camp  —  camp  —  camp 
When  the  blinding  day  is  over  ? 
On  the  coyote's  track, 
Where  the  ford  runs  black, 
And  the  wood-cat  cries 
When  the  wolf  creeps  back, 
And  our  stallions  stamp  —  stamp, 
With  the  hungering  wind  for  stover. 

[The  marching  of  many  people  now  is  heard  through 
the  great  entrances  in  the  background,  and  there  the 
Pioneers  begin  to  pour  through  in  thronging  groups. 

Around  them  the  chorus  of  unseen  singers  grows  loud 
and  resounding.] 


SAINT  LOUIS:  A  MASQUE 


CHORUS  OF  PIONEERS 

What  were  we  told  —  told  —  told 
By  our  smoulder  ing  fires  in  story  ? 
How  the  rivers  run 
To  the  sunken  sun 
Over  blood-bright  sand, 
And  every  one 
Is  bloody  with  gold  —  gold, 

And  their  torrents  are  red  with  its  glory. 

[Garbed  like  miners  and  rangers,  carrying  axes,  picks, 
scythes,  rifles,  etc.,  the  Pioneers  move  forward,  marching 
in  widespread  numbers,  to  the  right  and  front  of  the 
mound. 

In  their  midst  rides  a  tall  Figure  (the  Pioneer),  garbed 
like  the  others,  but  masked  in  a  sculptured  face  of  rugged 
feature.  Mounting  the  lesser  mound  on  the  right,  he 
pauses  there,  grouped  about  by  his  foot  followers. 

Meanwhile  the  chorus  becomes,  for  the  filling  plaza 
spaces,  a  reverberating  background  of  song.] 

CHORUS  OF  PIONEERS 

Whom  shall  we  call  —  call  —  call 
In  our  hunger  of  life  to  feed  us  ? 
On  the  heart  that's  young 
With  a  song  unsung, 
And  the  hand  that  reaps 
Where  the  grain  is  flung, 
42 


SAINT  LOUIS:  A  MASQUE 


And  the  forests  fall  — fall: 
In  the  lust  of  our  youth  he  shall  lead  us! 

[Seated  upon  his  horse  upon  the  lesser  mound,  the 
Pioneer  lifts  one  arm  and  fires  in  the  air  a  pistol  shot, 
calling  aloud:] 

THE  PIONEER 

Saint  Louis! 

ALL  THE  OTHERS 

[Raising  their  axes  and  weapons,  with  a  great  shout.] 

Saint  Louis !    Saint  Louis ! 

[From  within  the  mound-shrine  the  glow  has  increased 
to  a  brilliant  radiance,  through  which  now  comes  forth 
the  shining  figure  of  a  Youth,  clothed  in  the  silvery  chain- 
armor  of  a  crusader,  with  mantle  of  white.  In  his  fillet 
burns  a  white  star. 

Pausing  at  the  top  of  the  temple  steps,  he  holds  before 
him  the  glowing  sword.] 

THE  YOUTH 

Who  calls  Saint  Louis? 

THE  PIONEER 

Your  comrades  of  life : 
We,  —  pioneers. 

THE  OTHERS 
Pioneers! 

43 


SAINT  LOUIS:  A  MASQUE 


SAINT  LOUIS 

Hail!  —  Glad  hail, 
Comrades  —  my  comrades !    What  tidings? 

THE  PIONEER 

We  bear 

Tidings  of  labor  and  battle :    Our  trails 
Blaze  with  desire  and  danger  and  hope 
Born  of  to-day.     For  to-morrow  is  dim, 
Yesterday  —  dead.     But  to-day,  here  are  fields 
Waiting  to  sow;  here  are  forests  to  fell, 
Floods  to  span,  mines  to  shaft,  blood  to  spill,  wives  to 

win, 

Cities  to  stablish.     Now  lead  us,  to-day ! 
Lead  us,  Saint  Louis! 

THE  OTHERS 
Lead  us,  Saint  Louis ! 

SAINT  LOUIS 

My  comrades,  your  call 
Quickens  my  heart !  for  you  call  in  my  name 
More  than  myself.     Now  within  me  you  call 
America  —  youth  —  our  dear  country,  and  these  — 
These  make  answer:  Yes!  — Yes,  I  will  lead  you  to-day ! 

THE  PIONEER 
Show  us  your  sign. 

44 


SAINT  LOUIS:  A  MASQUE 


THE  OTHERS 
Show  your  sign! 

SAINT  LOUIS 

See  —  this  sword! 

Here  on  this  mound  I  received  it  —  a  child, 
Handed  me  down  from  the  night  and  the  stars. 
Lo,  on  my  brow  that  remembrance  still  burns! 
Now  for  our  day  this  Lhall  be  as  an  axe, 
Yea,  as  a  scythe,  as  a  spade,  and  a  lance, 
Sharpened  to  serve  and  to  lead  you  in  fight. 

THE  PIONEER 
Hail  to  the  sword! 

THE  OTHERS 
Hail  the  sword! 

SAINT  LOUIS 

O  my  friends, 

Comrades  in  hope  and  desire !    Our  dreams  — 
All  the  young  lusts  of  our  hearts  —  shall  be  ours, 
Won  by  this  sword,  and  the  strength  of  your  hands! 
Not  —  not  alone  will  I  wield  it :  but  you  — 
All  of  you  —  with  me !    What  now  can  withstand  — 
Who  shall  defy  us? 

45 


SAINT  LOUIS:  A  MASQUE 


[To  the  glad  ringing  of  his  voice,  suddenly  a  huge  rum 
bling  answers;  an  earthquake  shock  totters  the  temple 
shrine;  Saint  Louis  staggers,  the  sword  is  flung  from  his 
hands,  the  thronging  Pioneers  sway,  grasp  the  air  startled, 
or  fall  to  the  ground,  as  the  earth  at  the  foot  of  the  mound 
opens  with  ruddy  light,  and  a  tall  athlete  form,  all  golden, 
emerges  like  a  spirit,  and  stands  below  Saint  Louis,  up 
lifting  his  menacing  sceptre.] 

THE  SPIRIT 

I  —  /  and  my  serfs, 
We,  the  Earth  Spirits,  defy  you! 

THE  PIONEERS  AND  ADVENTURERS 

fStaring  and  pointing.] 

Gold!    Gold! 

SAINT  LOUIS 

[Starting  up  and  grasping  his  sword.] 

Spirit,  what  are  you?    Speak ! 

THE  SPIRIT 

Gold!  — I  am  Gold: 
I  am  the  element,  earthborn  to  be 
Master  and  maker  of  men.    To  my  wand 
All  the  earth  elements  rise  from  their  mire 
Minions  of  me  —  me,  their  spokesman  and  lord. 
Lo,  now,  behold  where  they  rise ! 

[Lifting  his  wand,  he  calls] : 

46 


SAINT  LOUIS:  A  MASQUE 


Ho!  — Ee-yo! 

Copper  and  Silver !  —  Yo,  Iron  and  Glass ! 
Lead  and  Aluminum!  —  Ho,  from  your  loins 
Brass  and  bright  Steel,  and  more  of  your  mating! 
Yo,  now  —  all  molten  —  arise,  and  among  you 
Forest,  and  Fur  of  the  forest  —  upstand! 
Rise  to  my  power  and  grapple  with  man ! 

[To  his  call  and  lifted  sceptre,  the  ground,  opening  now 
in  various  places,  belches  forth  green,  blue,  yellow,  and 
silver  fire,  through  which  pour  upward  the  Earth  Spirits. 
Large  athlete  forms,  laden  with  gleaming  chains,  they 
group  themselves  about  the  central  masked  figures  of  the 
several  Elements. 

Among  them,  through  shadowy  twilight,  rise  Forest  and 
Fur  and  their  sylvan  followers. 

While  their  shapes  are  thus  appearing,  the  chorus  of 
their  subterranean  voices  rises  with  them.] 


CHORUS  OF  THE  EARTH  SPIRITS 

Out  of  the  womb  of  earth 

Old,  old 

We  come  to  birth: 
Chained  to  the  sward 
We  serve  thee,  our  lord 

Gold! 

47 


SAINT  LOUIS:  A  MASQUE 


Czars  of  all  weaker, 
The  soul  of  our  seeker 

We  slay: 

Slaves  of  the  vaster 
Soul  ^vho  can  master  — 

Him  we  obey. 

Who  is  more  lordly  than  Gold?  — 
Let  him  be  bold! 

Only  our  lord  we  obey. 

GOLD 
Welcome,  my  earth-people! 

THE  EARTH  SPIRITS 
Ee-yo!    Ee-yo! 

THE  PIONEER 

Look  where  they  stand  and  defy  us !    Saint  Louis, 
Lead  us,  Saint  Louis! 

THE  PIONEERS 
Lead  us,  Saint  Louis! 

GOLD 

[Tauntingly.] 

Saint  Louis!  —  A  bout! 
So  I  make  challenge ! 

48 


SAINT  LOUIS:  A  MASQUE 


[He  hurls  his  wand  of  gold  at  Saint  Louis'  feet.     Saint 
Louis  seizes  it  up,  and  lifts  it  high.] 

SAINT  LOUIS 

So,  Gold,  I  accept! 

Beautiful,  strong  are  your  Earth  Spirits  —  yours 
Henceforth  no  more,  but  mine,  mine!    From  your 

power 

Now  I  will  free  them :    Their  chains  shall  be  loosed ; 
Girders  and  intricate  wheels  shall  they  forge 
Henceforth  to  serve  me  and  Him  whom  I  serve; 
Wings  for  their  glorious  bodies,  yea  wings 
Shall  raise  them  to  strive  for  my  race  of  the  stars. 
Stand  forth,  my  comrades  —  you,  Pioneers! 
One  I  will  choose  now  to  wrestle  with  Gold. 
Choose  you  the  others,  to  grapple  with  yonder 
Earth  Spirits. 

[From  the  Pioneers  a  band  of  athlete  wrestlers,  flinging 
off  their  cloaks,  step  forward  with  a  shout:] 

THE  WRESTLERS 
Hail!  —  Hail,  Saint  Louis! 

[At  a  sign  from  Gold,  a  band  of  the  Earth  Spirits  stride 
forward  from  the  other  side,  calling  aloud:] 

THE  EARTH  SPIRITS 

Hail,  Gold! 
49 


SAINT  LOUIS:  A  MASQUE 


SAINT  LOUIS 

[Pointing  his  sword  toward  the  tallest  of  the  wrestlers.] 
Him  now  I  choose,  to  meet  Gold. 

[From  the  sword's  blade  a  flying  globe  of  fire  falls  at  the 
feet  of  the  wrestler.] 

Come  before  me! 
GOLD 
Now  meet  with  your  match,  Pioneer!  —  To  the  mound! 

[Springing  forward,  the  Wrestler  mounts  the  mound  steps, 
together  with  Gold,  and  stands  on  the  level  space  below 
Saint  Louis.] 

SAINT  LOUIS 

Now  in  my  name,  Pioneer,  wrestle  well!  — 
Ready! 

THE  WRESTLERS  AND  EARTH  SPIRITS 

[Below.] 
Ho,  ready ! 

[Above,  on  the  mound,  the  chosen  Wrestler  and  Gold, 
stripped  to  grapple,  confront  each  other. 

Below,  on  the  cleared  central  space  of  the  plaza,  the 
athlete  Pioneers  and  Earth  Spirits  —  a  band  of  some  hun 
dred  or  more,  opposed  in  couples — stand  with  arms  reached, 
awaiting  the  signal.  The  bodies  of  the  Earth  Spirits  are 
still  bound  about  by  their  metal  chains. 

On  the  highest  step  before  the  temple's  entrance,  Saint 
Louis  raises  his  sword  perpendicularly  and  cries  aloud:] 

50 


SAINT  LOUIS:  A  MASQUE 


SAINT  LOUIS 

Now! 

[Swiftly  bringing  down  the  sword,  he  strikes  it  clanging 
on  the  stone. 

Above  and  below,  on  the  two  levels,  the  wrestlers  grapple 
—  the  lower  level  lying  in  half  shadow. 

Clutching,  swaying,  sliding  in  lights  and  glooms,  the 
wonderful  bodies  strain  for  victory. 

Massed  on  either  side,  the  crowded  Pioneers  and  Earth 
Spirits  watch  and  murmur. 

Suddenly  Saint  Louis  lets  fall  his  sword,  and  grasps 
toward  his  fillet. 

Gold  has  downed  the  Pioneer,  and  a  vast  exulting  shout 
rises  from  the  watching  Earth  Spirits.] 

THE  EARTH   SPIRITS 
Gold!    Gold! 

SAINT  LOUIS 

[Calls  above  them.] 

One  down! 

Stay! 

[Below,  on  the  plaza  level,  the  Wrestlers  pause  momen 
tarily.  Saint  Louis  strides  down  the  steps  toward  Gold 
and  the  Pioneer  Wrestler,  reaching  his  hand  toward  the 
latter.] 

Take  the  star! 

Si 


SAINT  LOUIS:  A  MASQUE 


GOLD 
Ho,  I  win! 

SAINT  LOUIS 

Two  in  three! 
[To  the  Wrestler.] 
Rise,  Pioneer,  and  wear  now  this  star! 

[Plucking  the  star  from  his  fillet,  Saint  Louis  hands  it, 
glowing,  to  the  Wrestler,  who  places  it  on  his  own  forehead, 
where  it  shines.] 

None  can  down  Gold  who  fights  for  himself. 
Fight  for  our  star !    Wrestle  well ! 

[Ascending  again,  Saint  Louis  lifts  his  sword  perpen 
dicularly  for  the  sign.] 

Ready!  —  Now! 

[Again  the  sword  clangs. 
Again  the  wrestling  proceeds  on  both  levels. 
Now  Saint  Louis  raises  his  sword  horizontally,  and  a 
great,  joyous  cry  breaks  from  the  watching  Pioneers. 
The  Wrestler  has  downed  Gold.] 

THE  PIONEERS 
Louis !    Saint  Louis !    The  Star ! 

SAINT  LOUIS 

Still  once  more! 
Hold !  —  The  third  bout :  —  Ready !  —  Now ! 

52 


SAINT  LOUIS:  A  MASQUE 

[Again  the  sword  clangs. 

The  wrestlers  clutch. 

On  the  shadowy  lower  level,  the  silent  grappling  grows 
more  keen,  and  many  are  downed  on.  both  sides.  But 
the  eyes  of  the  watchers  are  riveted  on  the  illumined  mound. 

There  now  Saint  Louis'  sword  swings  outward  again 
horizontally. 

Gold  is  downed  again,  and  the  watching  Pioneers  shout 
more  wildly.] 

THE  PIONEERS 
Louis !    Saint  Louis !    The  Star ! 

[The  clamor  grows  tumultuous  and,  swelling  above  the 
shouts,  the  song  of  the  deep  chorus  reverberates  once 
more.] 

[CHORUS] 

Whom  shall  we  call  —  call  —  call 
In  our  hunger  of  life  to  feed  us  ? 
On  the  heart  that's  young 
With  a  song  unsung, 
And  the  hand  that  reaps 
Where  the  grain  is  flung, 
And  the  forests  fall  — fall: 
In  the  lust  of  our  youth  he  shall  lead  us! 

[SHOUTS] 

Louis !    Saint  Louis !    The  Star ! 

53 


SAINT  LOUIS:  A  MASQUE 


[In  the  foreground,  the  Wrestling  Pioneers  have  led  to 
the  foot  of  the  mound  the  conquered  Earth  Spirits,  who 
kneel  there  below  Saint  Louis  —  each  beside  his  opponent, 
who  stands. 

Great  green  and  gray  banners  of  Forest  and  Fur  are 
held  by  the  other  Pioneers,  at  left  and  right. 

Saint  Louis,  receiving  back  the  star  from  the  Wrestler, 
speaks  from  above  to  those  below.] 

SAINT  LOUIS 

Comrades,  the  star  —  our  star  is  victorious! 
Rise  now,  my  Earth  Spirits!  —  You,  Pioneers, 
Strike  off  their  chains  now:  wings  shall  be  theirs  — 
Wings!  —  for  to-morrow  they  fly  in  my  service. 

[The  Earth  Spirits  rise,  and  their  chains  are  struck  off 
by  their  conquerors. 

Meanwhile  Gold,  who  has  lain  crouched  beneath  the  win 
ning  Wrestler,  leaps  to  his  feet  with  a  defiant  gesture,  and 
cries  to  Saint  Louis:] 

GOLD 

Strike  off  their  chains,  O  Saint  Louis!  yet  I  — 
I  will  forge  new  ones  to  fetter  their  wings ! 
Gold  is  not  downed  by  one  wrestling.     Farewell ! 
Fare  worse,  for  again  I  will  meet  and  defy  you ! 

[Seizing  up  his  fallen  sceptre,  Gold  springs  to  the  back 
edge  of  the  mound  and  stands  there  for  an  instant.] 

54 


SAINT  LOUIS:  A  MASQUE 


SAINT  LOUIS 

Welcome  the  grappling,  whenever  we  meet! 
Hail,  Gold! 

GOLD 

[Raising  his  sceptre,  threateningly.] 
Long  hail  —  and  defiance ! 

[With  a  last  fierce  gesture,  Gold  plunges  into  the  dark 
ness  behind  the  mound.] 

SAINT  LOUIS 

[Pointing  to  the  Earth  Spirits,  speaks  to  those  who 
stand  guard  over  them.] 

Release  them! 

[To  mysterious  blowing  of  unseen  trumpets,  the  Earth 
Spirits  pass,  with  their  loosened  chains,  behind  the  great 
banners  and  emerge  on  the  other  side,  clothed  in  fiery 
wings  of  many  colors,  like  the  hues  of  their  own  metallic 
bodies. 

Saint  Louis  speaks  to  all  assembled.] 

SAINT  LOUIS 

Now  freedom  and  strong  brotherhood  prevail 
Amongst  us,  and  the  soul  of  these  be  blown 
World-far  —  America! 

[Like  an  echo,  magnified  by  a  multitude  of  voices  far 
away,  a  choral  answer  comes  murmuring:  "America!" 
Saint  Louis  starts  and  listens. 
55 


SAINT  LOUIS:  A  MASQUE 


Then  a  deep  Voice  — circled  as  with  boy  choirs — resounds 
from  the  sky,  but  no  visual  sign  appears  there.] 

THE  VOICE 

Saint  Louis! 

SAINT  LOUIS 

Hark! 
What  voice? 

THE  VOICE 

Saint  Louis! 

SAINT  LOUIS 

Wasapedan's  voice! 
He  calls,  even  as  of  old. 

THE  VOICE 
They  come. 

SAINT  LOUIS 

Who  come, 
O  darkling  voice? 

THE  VOICE 
The  World  Adventurers. 

[From  the  right  background  there  enters  now  a  mul 
titude  of  men  and  women,  garbed  in  the  native  costumes 
of  all  nations. 

Preeminent  among  them,  on  horseback,  ride  five  masked 

56 


SAINT  LOUIS:  A  MASQUE 


figures,  symbolic  of  Europe,  Africa,  Asia,  Australia  and  the 
Ocean  Islands.  These  take  their  stands  in  various  parts  of 
the  plaza,  right,  surrounded  by  their  followers. 

On  the  lesser  mound,  Europe  towers  highest  from 
amongst  them. 

As  the  multitude  enters  and  moves  forward,  marching, 
voices  of  the  unseen  chorus  (male  and  female  voices)  pre 
cede  and  resound  from  their  midst.] 

CHORUS  OF  THE  WORLD  ADVENTURERS 
A  star  —  a  star  in  the  west ! 

Out  of  the  wave  it  rose: 
And  it  led  us  forth  on  a  world-far  quest; 
Where  the  mesas  scorched  and  the  moorlands  froze 

It  lured  us  without  rest: 

With  yearning,  yearning  —  ah! 
It  sang  (as  it  beckoned  us) 

A  music  vast,  adventurous  — 
America! 

[Merging  their  ranks  with  the  Pioneers,  who  welcome 
them  in  pantomime,  the  World  Adventurers  mass  them 
selves  about  the  central  and  the  lesser  mound  (on  the 
right),  while  the  chorus  still  resounds.] 

CHORUS  OF  THE  WORLD  ADVENTURERS 

A  star  —  a  star  in  the  night ! 

Out  of  our  hearts  it  dawned  ! 
And  it  poured  within  its  wonderful  light; 

57 


SAINT  LOUIS:  A  MASQUE 


Where  our  hovels  gloomed  and  our  hunger  spawned 

It  healed  our  passionate  blight: 

And  burning,  burning  —  ah! 
It  clanged  (as  it  kindled  us) 
Of  a  freedom,  proud  and  perilous  — 
America! 

[Raising  his  standard  from  the  heights  of  the  lesser 
mound,  the  masked  Figure  of  Europe  hails  Saint  Louis.] 

EUROPE 

American!  —  In  you,  young  Pioneer, 

We  greet  the  conquering  star  which  lures  the  world. 

America,  who  cradled  you  as  child  — 

A  wastrel  Moses  'mid  wild  river-reeds  — 

NOWT  calls  your  prime  to  lead  the  tribes  of  man, 

And  I,  who  gat  you  heroes  from  my  loins, 

I,  Europe,  cry  as  spokesman  of  these  tribes: 

Give  welcome  to  these  World  Adventurers, 

Who  come  to  blend  their  blood  and  toil  with  yours. 

[Europe  dips  his  standard  toward  Saint  Louis,  who  re 
turns  the  salute  with  his  sword.] 

SAINT  LOUIS 

Welcome !    Thrice  welcome,  World  Adventurers ! 
Hail  them,  my  Pioneers! 

58 


SAINT  LOUIS:  A  MASQUE 


THE  PIONEERS 
[With  hearty  shout.] 

Good  hunting,  all! 

[Pointing  upward  their  rifles  and  guns,  they  shoot  an 
echoing  volley  into  the  air.] 

THE  WORLD  ADVENTURERS 

[Waving  their  national  emblems,  shout  in  reply:] 
Huzza,  Saint  Louis! 

SAINT  LOUIS 
We,  who  in  old  times 
Hunted  each  other,  hunt  together  now 
The  quarries  of  the  world:  freedom  and  joy 
And  lasting  brotherhood.     Our  trails  are  cleared ; 
The  Earth  Spirits  are  tamed.     What  can  withstand  — 
Who  shall  defy  us  now? 

[At  his  confident  cry,  flame  and  thunder  burst  from  the 
top  of  the  storm- tower  on  the  left;  hurtling  toward  the 
mound,  a  blazing  bomb  explodes  in  mid  air;  and  plunging 
forward  from  the  dark  below  the  tower,  a  masked  Rider, 
clothed  in  blood-red  mail,  gallops  his  blood-red  horse  mid 
way  of  the  plaza,  and  halts  with  harsh  yell.] 

THE  RIDER 

War  —  war  defies! 

[Reining  his  horse,  he  brandishes  backward  his  sanguine 
lance  toward  the  darkness,  and  shouts:] 
Mache! 

59 


SAINT  LOUIS:  A  MASQUE 


[Immediately  from  the  obscure  background  and  side  en 
trances  (left)  there  pours  in,  pell  mell,  a  fierce  horde  of  his 
demon  followers  —  vivid  in  scarlet,  purple,  yellow,  black, 
and  sharp  contrasting  colors,  panoplied  in  the  varied  ac 
coutrements  of  war,  ancient  and  oriental. 

At  their  head  rides  Gold,  returning  on  a  horse  of  gold. 

The  hordes  enter  screaming,  to  the  rumbling  of  drums, 
and  swarm  over  the  plaza  spaces  on  the  left,  surrounding 
the  War  Demon,  where  he  sits  high  on  his  gule-bright  horse 
on  the  lesser  mound.  Around  him,  like  the  hosts  of  Darius, 
his  followers  stretch  to  the  darkness.  In  the  background, 
long  lances,  bearing  spiked  human  heads,  loom  from  behind 
him.] 

THE  WAR  DEMONS 

[Yelling,  as  they  sweep  forward.] 

Mache!  Mache!  Mache! 

THE  PIONEERS  AND  ADVENTURERS 

[Raising  their  weapons  and  standards,  start  toward 
them.] 

Saint  Louis  and  victory! 

SAINT  LOUIS 

[Putting  to  his  lips  a  trumpet,  blows  it,  and  then  calls:] 

Pioneers!  Americans!  My  countrymen! 

HIS  FOLLOWERS 

[Pausing,  shout  in  answer:] 

Saint  Louis! 

60 


SAINT  LOUIS:  A  MASQUE 


SAINT  LOUIS 

Halt !    A  parley  with  this  host : 
Hail,  Gold!    You  are  returned! 

GOLD 

[Who  sits,  mounted,  beside  the  War  Demon:] 

I  am  returned, 
And  bring  new  hordes  in  vengeance. 

SAINT  LOUIS 

A  new  fall 
You  ride  to!  —  What  are  these? 

GOLD 

My  mercenaries: 
Still,  old  as  time,  they  do  my  will  to-day. 

SAINT  LOUIS 
But  not  to-morrow! 
[Pointing:] 

Who  is  he? 

GOLD 

My  tool 

And  mightiest  minion  —  War. 
[To  the  Demon:] 

Declare  our  challenge! 
fo 


SAINT  LOUIS:  A  MASQUE 


WAR 

[To  Saint  Louis:] 

A  million  hearts  have  dyed  me  in  these  gules: 
The  hearth  fires  of  a  million  homes  my  horse 
Has  stamped  to  ashes.     In  the  name  of  saints 
And  saviors  I  have  served  my  master,  Gold. 
Once  more  I  serve  him.    All  your  proudest  dreams, 
Saint  Louis,  I  defy,  and  challenge  —  so! 

[He  hurls  toward  Saint  Louis  a  bomb,  which  bursts  above 
the  mound  in  falling  fire.] 

SAINT  LOUIS 
And  so,  War,  I  accept  your  challenge! 

[He  plucks  again  the  star  from  his  fillet,  and  holds  it 
upward,  glowing. 

A  troop  of  the  World  Adventurers,  clad  as  knights,  ride 
forward  from  the  right.  Their  leader  is  clothed  like  Saint 
Louis.] 

THEIR  LEADER 

[Raising  his  lance.] 

Choose, 

Saint  Louis!    Choose  from  us! 

SAINT  LOUIS 

You,  then,  I  choose 

To  fight  with  War.    The  victor  holds  the  field. 
Receive  our  star,  and  wear  it  in  the  tourney. 

62 


SAINT  LOUIS:  A  MASQUE 


[From  Saint  Louis'  hand,  a  Herald  bears  the  star  to  the 
Tourney  Rider,  who  places  it  shining  in  his  helmet. 

The  others  draw  back. 

From  either  side,  mounted  on  their  mailed  horses,  the 
white  Tourney  Rider  and  the  crimson  War  Demon  con 
front  each  other. 

From  above,  Saint  Louis  lifts  his  perpendicular  sword 
and  calls:] 

Ho,  ready  !  —  Ride! 

[The  sword  point  clangs  on  the  stone. 

With  lances  set,  the  antagonists  spur  toward  each  other. 

From  both  sides  great  shouts  go  up,  and  continue  clam 
orously  as  the  riders  meet  in  shock,  draw  back,  and  plunge 
again.] 

THE  WAR  DEMONS 
Nike!    Nike!    KaiThanatos! 

THE  PIONEERS  AND  ADVENTURERS 
Victory  and  Life ! 

[The  tournament  continues  fiercely. 

In  the  conflict  their  lances  are  shattered. 

World  Adventurer  and  War  Demon  draw  then  their 
swords  and  strike  at  each  other. 

Amid  din  of  the  watching  hosts,  Saint  Louis*  champion 
strikes  from  the  War  Demon  his  helmet  and  unhorses  him. 

The  clamor  grows  wilder. 

Seeing  the  plight  of  War,  Gold  rides  to  the  fallen  Demon, 
who  reaches  to  his  stirrup  and,  mounting  with  him,  is 

63 


SAINT  LOUIS:  A  MASQUE 


whirled  away  (left)  into  the  darkness,  amidst  the  stampede 
and  rout  of  the  Demon  hordes. 

With  exulting  shouts,  the  Pioneers  and  Adventurers  are 
starting  to  pursue,  when  —  above  the  mound-shrine  —  ap 
pears  an  enormous  star,  burning  whitely. 

Below  it  Saint  Louis  puts  once  more  the  trumpet  to  his 
lips,  blows  loud,  and  calls  again.] 

SAINT  LOUIS 
The  star! 

THE  PIONEERS  AND   ADVENTURERS 

[Pausing,  dazzled,  screen  their  eyes  and  cry  out:] 

The  star!    The  star! 

[Above,  the  apparition  vanishes. 
Below,  the  hordes  of  War  disappear.] 

SAINT  LOUIS 

Our  star  has  won! 

Remember  the  star's  voice :  Not  vengeance  —  peace ! 
Peace,  and  the  law  of  brothers !  —  O  my  brothers, 
Hark  where  the  demon's  rout  dies  moaning.     Peace! 
The  star  is  holy  where  forgiveness  burns. 
Our  flag  is  bright  with  stars  of  brotherhood. 

[A  herald  has  brought  from  the  shrine  a  great  folded 
banner  of  the  American  colors,  wreathed,  and  holds  it 
beside  Saint  Louis. 

Saint  Louis  lifts  it  above  the  assembled  peoples,  who 
bow  down  with  a  deep  murmur.] 


SAINT  LOUIS:  A  MASQUE 


ALL 

America!  —  Our  stars! 

[The  Tourney  Rider  has  mounted  the  temple  steps  with 
his  shattered  lance,  and  hands  to  Saint  Louis  the  star  from 
his  helmet. 

Saint  Louis  takes  it,  and  hands  to  him  in  return  the 
color  standard,  which  the  Rider  bears  with  him  aside.] 

SAINT  LOUIS 

The  wounds  of  War 
Are  healed  in  that  remembrance. 
[To  the  Rider:] 

You  fought  well. 
[To  the  Assemblage:] 

Comrades,  what  lurking  foes  waylay  our  path 
When  loudest  swells  our  boast!    Let  our  crusade 
Champion  the  stars,  but  first  ourselves  be  clean! 
Yonder  —  ah,  yonder,  even  from  our  own  midst, 
What  shapes  of  sorrow  and  unclean  despair 
Rise  in  our  path  once  more!    Hark  now:  what  dirge? 
What  stifled  cry?  —  (pointing)  —  That  frail,  unhappy 

one! 
Who  —  who  are  they  that  trail  her  robe  forlorn? 

[From  amidst  the  crowded  groups  on  the  right,  faintly  a 
dirge  of  women's  voices  has  begun  to  lift  in  low  wailing.] 

65 


SAINT  LOUIS:  A  MASQUE 


THE  DIRGE 
To  some,  to  some  —  the  heart's  desire; 

To  us,  to  us  —  heart's  moan: 
To  some,  ah,  some  —  the  kindling  fire; 

To  us  —  the  cold  hearth-stone. 

Ah,  holy  One! 

For  them  —  the  smile  of  valor; 
For  us  —  the  pallor,  the  pallor: 

Oh,  for  the  sun! 
The  sun! 

[The  bright-colored  crowd,  now  parting,  draw  back 
with  startled  and  pitying  gestures,  revealing  in  their 
midst  groups  of  haggard  women  and  forlorn  children,  old 
men  bowed  over,  and  young  men  darkly  brooding:  among 
them,  a  masked  female  Form  in  black,  a  scarlet  band 
about  her  forehead. 

Chanting  their  dirge,  the  dun-colored  pageant  moves 
haltingly  toward  the  mound. 

Last  in  the  pageant  walks  a  tall  Figure  completely  hooded 
in  black  featureless  mask,  and  straight-robed  in  black. 

Moving  below  the  mound,  the  masked  Woman's  form 
raises  her  thin  hands  toward  Saint  Louis,  as  the  dirge  con 
tinues.] 

DIRGE  OF  THE  WOMEN  IN  DUN 
A  soul  —  a  soul  to  bear  the  child! 
A  soul  —  to  bear  the  scorn! 
66 


fSAINT  LOUIS:  A  MASQUE 


And  some  to  clasp  the  undefiled, 
And  we  —  the  love  unborn! 

Ah,  lonely  God! 

For  some  —  the  lover,  the  neighbor; 
For  us  —  the  labor,  the  labor: 
Oh,  for  the  sod! 
The  sod! 

SAINT  LOUIS 

[Gazing  with  awe  at  the  hooded  Woman  below.] 

In  Christ  His  name,  what  are  you? 

THE  WOMAN 

Poverty: 
These  are  my  children. 

[Pointing  at  the  black-hooded  Figure.] 

Yonder  stands  their  father. 

SAINT  LOUIS 
But  they  —  what  are  their  names? 

POVERTY 

He  christened  them 

Shame  is  my  eldest:    Vice  and  Plague  I  bore 
Twins,  to  his  power:  next  Dumbness  and  Despair, 
And  here  you  see  their  offspring.    Yonder  —  ah, 

67 


SAINT  LOUIS:  A  MASQUE 


There  stands  my  brooding  son,  Rebellion.     These, 
And  many  more,  their  father  brands  with  names; 
But  I  —  I  call  them  all  my  comrades. 

SAINT  LOUIS 

TeU: 
What  bodes  that  scarlet  band  about  your  brow? 

POVERTY 

Ask  him  who  tied  it  there. 

[She  points  again  at  the  hooded  Figure.] 

SAINT  LOUIS 

But  what  is  he? 

POVERTY 

[Shrinking  back.] 

I  dare  not  name  him.     He  is  never  named 
When  I  am  near. 

SAINT  LOUIS 

Speak,  hooded  shape:  What  are  you? 

[The  Figure  in  black  moves  silently  toward  Saint  Louis, 
and  begins  to  ascend  the  steps  of  the  mound.] 

Why  do  you  mount  toward  me?  —  Stay !   Are  you  dumb  ? 
Your  silence  cries  to  God! 

[Saint  Louis  draws  back. 
68 


SAINT  LOUIS:  A  MASQUE 


The  Figure   approaches  him  with  slow   menace  and 
touches  his  arm.] 

Your  hand  is  cold. 

Why  have  you  left  your  place? 

THE  FIGURE 

My  place  is  here. 

SAINT  LOUIS 
Your  voice — it  chills  my  heart.    What  power  is  yours? 

THE  FIGURE 

[Pointing  below.] 

My  power  is  placed  above  the  reach  of  —  those. 
[He  grasps  the  hilt  of  Saint  Louis'  sword.] 

SAINT  LOUIS 

[Wresting  it  from  him.] 

Unloose  my  sword! 

[The  Figure  reaches  upward.] 

Touch  not  my  star!    Dark  shape, 
/  will  unmask  you. 

[Tearing  the  hood  from  the  face,  Saint  Louis  starts  back. 
Dropping  the  robe  from  his  shoulders,  the  Figure  steps 
forth  all  gleaming,  as  Saint  Louis  cries  out:] 

Gold! 

GOLD 

We  meet  once  more. 
69 


SAINT  LOUIS:  A  MASQUE 


[Wrenching  the  sword  from  Saint  Louis,  Gold  strides  up 
the  steps  to  the  shrine,  and  turns,  brandishing  it.] 

Hail  me,  my  Earth  Spirits! 

VOICES 
[Cry  from  below.] 

Gold!    Yo,Gold! 

[Appearing  from  behind  the  mound,  the  Earth  Spirits 
rush  up  the  slopes  and  steps.] 

THE  PIONEERS  AND  ADVENTURERS 
[Shout.] 

Saint  Louis ! 

GOLD 

[Exultant.] 

Wings!  Now  their  wings  are  mine!  Surround  my  temple! 

[Gold  goes  into  the  shrine,  bearing  the  sword. 

The  Earth  Spirits  rush  up  after  him,  and  stand  guard 
about  the  closed  door  with  outspread  wings. 

There  they  confront  Saint  Louis,  who  pauses  midway  on 
the  steps,  clutching  the  air  dazedly  for  his  reft  sword.] 

THE  WOMEN  AND  CHILDREN 

[From  below.] 

Save  us,  Saint  Louis! 

[Saint  Louis  stands,  groping  upward. 
From  the  sky,  a  shooting-star  starts,  and  falls  beyond 
the  temple,  as  the  deep  sky  voice  calls:] 

70 


SAINT  LOUIS:  A  MASQUE 


THE  SKY  VOICE 
Saint  Louis! 
SAINT  LOUIS 

Hark!  the  omen! 

THE  SKY  VOICE 
Saint  Louis,  call  your  brothers! 

SAINT  LOUIS 

Wasapedan, 
I  hear! 

THE  SKY  VOICE 

Alone,  you  fall.    Make  league  together. 
Call  on  the  cities!  —  League,  and  conquer  Gold! 

SAINT  LOUIS 

Cahokia,  your  vision  falls  on  me: 
Here  on  your  mound,  I  hark  now,  and  remember! 

THE  WOMEN 

[From  below.] 

Saint  Louis,  save  us! 

SAINT  LOUIS 
Bear  with  me,  my  sisters! 
Your  sorrow  is  our  nation's.    I  will  call 
My  brother  cities  here,  and  purge  our  temple. 


SAINT  LOUIS:  A  MASQUE 


[To  his  gesture,  four  mounted  Heralds  move  forward  on 
the  space  below.  Their  horses  are  plumed  with  long,  slim 
wings  like  swallows.] 

Ride,  Heralds!  —  Make  your  trumpets  the  four  winds! 
Call  to  the  cities  and  proclaim  our  League ! 

[Spurring  their  horses  to  the  four  corners  of  the  plaza, 
the  Heralds  sound  their  trumpets  with  loud  peals. 
From  far  away,  martial  replies  come  back  like  echoes. 
Saint  Louis  speaks  again  to  the  dun-colored  figures  below.] 

Rise  up,  pale  women.    Watch  beside  me  here, 
For  they  are  coming.     Rise  now,  Poverty, 
For  you  shall  find  your  rest  here  on  my  mound, 
And  sleep  with  your  sad  children. 

[Beckoning  the  masked  Form,  Saint  Louis  himself  goes 
down  and  leads  her  up  to  the  mound's  level,  trailed  after 
by  others  of  the  dark  pageant. 

There  for  a  moment  Poverty  stands  beside  him,  then 
sinks  down,  where  he  bends  over  her.  The  others  also  sink 
down,  and  Saint  Louis  speaks,  with  gentle  gesture.] 

Now,  sweet  dreams! 
To-morrow  these  shall  wake  with  other  names! 

[The  light  now  fades  from  the  mound,  from  all  except 
the  figure  of  Saint  Louis  and  above  him  the  shrine,  with 
the  Earth  Spirits  on  guard. 

Rising,  Saint  Louis  makes  signal  again  to  the  Heralds, 
who  blow  their  trumpets  a  second  time. 

72 


SAINT  LOUIS:  A  MASQUE 


The  trumpets'  echo  sounds  louder. 

A  third  time  they  blow. 

The  peal  is  replied  to  from  all  parts,  and  now  by  land 
and  water,  to  a  march  music  of  spirited  solemnity,  the 
Pageant  of  the  Cities  begins  majestically  to  enter. 

In  seven  major  groups  come  the  cities  of  the  Union, 
representing  all  the  states  and  the  islands,  and  leading 
them  —  the  Federal  Capital.  Accompanying  them  rides  a 
group  of  foreign  cities,  representing  countries  of  South 
America,  Canada,  England,  and  Europe. 

The  seven  groups  of  the  Union  are  marshalled  in  this 
wise: 

By  water,  the  cities  of  the  Rivers,  led  by  New  Orleans; 
and  of  the  Lakes,  led  by  Chicago. 

By  land,  those  of  the  Eastern  seaboard,  led  by  New  York; 
of  the  Western  coast,  by  San  Francisco;  of  the  Mountains 
by  Denver;  of  the  Islands  — Honolulu. 

Attending  the  cities  are  then*  distinctive  Industries. 

Marshalling  them  all  rides  the  city  Washington. 

In  his  train  are  groups  of  the  nation's  Arts,  Sciences,  and 
Professions. 

As  they  approach,  the  Pioneers  and  Adventurers  move 
on  either  side  to  the  middle  and  background. 

Converging  like  a  vast  V,  whose  apex  is  the  foot  of  the 
mound,  the  city  groups  take  their  stations  on  the  plaza 
foreground  —  Washington  and  his  group*  at  the  apex. 

There  Washington  salutes  Saint  Louis,  and  speaks.] 

*In  this  group  are  the  Arts,  Play,  Dance,  the  Civic  Theatre,  etc.,  and  with 
them  children  and  young  people  come  dancing. 

73 


SAINT  LOUIS:  A  MASQUE 


WASHINGTON 

Saint  Louis,  to  our  states  and  sister  lands, 
Our  coasts,  and  isles,  our  mountains,  rivers,  and  lakes, 
The  winds  have  borne  your  cry,  and  we  respond. 

THE  SEVEN  GROUPS 

[Calling,  through  their  masked  spokesmen.] 

PI 

I  from  the  eastern  sea  have  come  —  New  York. 

[H] 
I  from  the  western  —  San  Francisco. 

• 
[III] 

I 

Speak  from  the  lakes  —  Chicago. 

[IV] 

I  from  the  rivers — 
New  Orleans. 

[V] 

On  the  mountains  —  Denver,  I. 

[VI] 
I  call  from  the  far  islands  —  Honolulu! 

WASHINGTON 

[VII] 

And  I  from  the  Capital. —  We  hail  you,  brother! 
What  urging  cause  now  calls  us  to  make  league? 

74 


SAINT  LOUIS:  A  MASQUE 


SAINT  LOUIS 

Gold  has  usurped  our  temple. —  In  our  path 

Lo,  we  have  grappled  the  Elements,  Earth,  and  War, 

And  overcome  them.     Gold  alone  has  slipped 

Our  grasp,  eluding  us  in  subtle  guises. 

Here,  in  his  train,  behold  this  pallid  troupe 

Of  Poverty,  bowed  in  dark. —  Cities,  my  brothers, 

Gold  has  usurped  our  temple  and  our  sword: 

How  shall  we  cope  with  Gold? 

WASHINGTON 

[Turning  to  his  group.] 

Imagination, 

Reveal,  and  answer!    For  if  you  are  blind, 
The  nations  walk  hi  darkness. 

[From  the  group  of  Arts  and  Sciences,  Imagination 
stands  forth  —  a  noble  female  Form,  masked  in  serene 
beauty.] 

IMAGINATION 

Lords  of  the  earth, 

Are  you,  then,  stricken  so  dumb?    And  are  you  dazzled 
When  Gold  draws  near  to  God?    And  do  your  souls 
Cry  for  a  saviour? 
Close  your  eyes,  O  people! 

75 


SAINT  LOUIS:  A  MASQUE 


Gaze  there  in  your  own  darkness: 
What  do  you  behold  there? 
Follow  me :   I  will  show  you. 

[Through  the  fallen  figures  on  the  steps,  she  mounts  to 
the  mound  level,  where  she  stands  in  the  dimness  and 
looks  back  on  the  illumined  plaza.] 

In  all  this  gorgeous  pageant  of  the  world 

Has  none  beheld  him?    Nay,  he  sits  in  twilight 

And  broods  by  fallen  Poverty.    Behold  him! — 

[She  points  beside  the  stricken  form  of  Poverty  to  where 
a  slight,  slim  Figure  sits.] 

A  child :  a  child !  —  And  wings  he  bears  —  and  thorns ! 
[Reaching  her  hand.] 

Arise,  dear  Love,  and  lead  me  to  the  temple. 

[The  child  rises  from  his  brooding,  and  steps  into  sudden 
light.  Bare-limbed,  he  wears  a  dim  blue  tabard,  through 
which  at  the  shoulders  spring  iris  wings.  On  his  head 
thorns  glitter  like  a  garland. 

Taking  Imagination's  outstretched  hand,  and  passing 
Saint  Louis  (who  gazes  with  awe),  he  leads  her  up  the 
steps  to  the  shrine  and  pauses. 

Saint  Louis  follows  part  way  up  the  steps. 

At  the  approach  of  the  child,  the  Earth  Spirits  draw 
back  from  the  closed  door,  screening  their  eyes. 

The  child  draws  nearer  and  — as  Imagination  stands 
beside  him  —  knocks. 


SAINT  LOUIS:  A  MASQUE 


The  door  clangs  with  a  deep  booming,  and  swings  open. 

Slowly  Gold  comes  forth,  holding  the  sword. 

Confronting  the  child,  he  raises  the  sword  above  his 
head  to  strike. 

The  child  looks  up  at  him. 

Gold  pauses,  wavering. 

The  sword  falls  from  his  grasp,  and  he  bows  down  with 
a  deep  cry:] 

GOLD 
Master! 

[The  child  touches  his  bowed  form. 
Gold  raises  his  head,  reaches  for  the  sword,  and  holds  it 
up. 
Imagination  takes  the  sword  and  speaks.] 

IMAGINATION 

Now,  Gold,  rejoin  these  Earth  Spirits.    You 
Henceforth  are  one  of  them  —  to  serve  us. 

[Gold  draws  back  and  joins  the  group  of  Earth  Spirits, 
who  bow  down  with  him.] 

THE  EARTH  SPIRITS 

Ee-yo! 
IMAGINATION 

[Gazing  below  at  the  stricken  forms.] 

Now  wake,  you  lonely  and  despairing  ones, 

Wake  from  your  dark,  and  be  what  you  have  dreamed! 

Saint  Louis,  guard  the  sword! — Love  holds  the  temple. 

77 


SAINT  LOUIS:  A  MASQUE 


[Standing  the  sword  against  the  lintel,  Imagination  and 
Love  go  within. 

Saint  Louis,  from  midway  of  the  steps,  ascends  and  takes 
the  sword. 

Standing  before  the  temple  shrine,  he  turns  and  looks 
below. 

On  the  mound  level  and  the  lower  steps,  a  dreamy  light 
reveals  where  Poverty  and  the  other  stricken  shapes  have 
risen  from  their  dun  garb,  new  clad  in  forms  of  light  and 
graciousness.] 

SAINT  LOUIS 

[Addressing  them  and  the  multitude.] 

O  sisters  —  brothers  —  cities  leagued  by  Love! 
If  we  are  dreaming,  let  us  scorn  to  wake; 
Or  waking,  let  us  shape  the  sordid  world 
To  likeness  of  our  dreams.     For  'tis  a  little, 
When  we,  too,  like  Cahokia,  shall  lie  down, 
And  this  our  city  be  a  silent  mound, 
Silent,  save  over  all  —  the  chanting  stars! 

[Beyond  him,  from  the  sky,  slowly  the  Great  Bear 
gleams,  while  the  star-choirs  sing,  remote:] 

CHORUS  OF  THE  STARS 
Out  of  the  formless  void 
Beauty  and  order  are  born: 
One  for  the  all,  all  in  one, 
We  wheel  in  the  joy  of  our  dance. 
78 


SAINT  LOUIS:  A  MASQUE 


WASAPfiDAN 
Saint  Louis! 

SAINT  LOUIS 
Hark  —  the  voice! 

WASAPfiDAN 

Behold  the  wings! 

SAINT  LOUIS 
What  wings,  0  Wasapedan? 

WASAPfiDAN 

Eagle's  wings! 

SAINT  LOUIS 
What  eagle  flies? 

WASAPfiDAN 
America!    Your  league 
Rides  on  his  wings,  and  rises  toward  the  stars. 

[Wasapedan  fades. 

Saint  Louis,  looking  toward  the  southern  tower,  points 
there  with  his  sword,  and  turns  toward  the  great  assem 
blage.] 

SAINT  LOUIS 

Cities!    My  brothers  —  sing!    Our  league  is  born! 

79 


SAINT  LOUIS:  A  MASQUE 


ALL  THE  ASSEMBLAGE 
Saint  Louis!    The  League  of  Cities! 

[Suddenly  all  start,  uplifting  their  arms,  and,  gazing 
toward  the  tower  entrance,  cry  out:] 

Wings!  the  Wings! 

[Beyond,  from  the  outside  darkness,  a  great  whirring 
hums;  groups  of  the  people  start  back  and  forward,  leav 
ing  a  wide  pathway,  along  which  —  emerging  from  the  dim 
ness  —  a  gigantic  Bird  sweeps  whirring,  darts  for  an  in 
stant  through  bright  radiance,  then  soars  into  the  night, 
circling  upward  and  scattering  wild  sparkles  of  fire  in  its 
wake.* 

Saint  Louis  stands,  pointing  skyward  with  his  sword. 

Meantime,  from  the  gazing  hosts  of  the  plaza,  swaying 
with  rhythmic  motion,  a  mighty  chorus  rises.] 

CHORUS 

Out  of  the  formless  void 
Beauty  and  order  are  born: 
One  for  the  all,  all  in  one, 
We  wheel  in  the  joy  of  our  dance. 


*In  configuration  and  color  an  eagle,  the  bird,  of  course,  is  an  aeroplane, 
serving  thus  for  the  first  time  the  symbolism  of  dramatic  poetry.  The 
sparkles  in  its  wake  are  van-colored  fireworks,  shot  off  as  it  soars.  See 
Appendix,  Page  89. 

80 


SAINT  LOUIS:  A  MASQUE 


Brother  with  brother 
Sharing  our  light, 
Build  we  new  worlds 
With  ancient  Href 

[From  far  above  temple  and  plaza,  the  colossal  Eagle 
still  drops  his  fiery  plumes.] 


FINIS. 


81 


APPENDIX 


THE  DREAM  OF  CAHOKIA 

(Note  for  page  3.) 

As  the  working  out  of  this  Prelude  in  stage  production  is  tech 
nically  a  matter  of  pantomime  and  dance,  which  Mr.  JOSEPH 
LINDON  SMITH  (my  associate  in  the  Saint  Louis  production  of  the 
Masque)  has  devised  with  imaginative  artistry,  I  have  asked 
Mr.  SMITH  himself  to  describe  its  outlines.  This  he  has  briefly 
done,  in  his  own  words,  as  follows: 

Dimly  seen,  in  the  darkness  of  the  vast  stage,  is  an  ancient 
temple  of  the  Maya  civilization  —  a  concrete  expression  of  the 
religion  of  the  great  race  of  red  men  of  Yucatan  and  Central 
America.  (See  Preface,  page  xiv.)  The  temple  is  to  some  extent 
a  replica  of  the  famous  CHICKEN  ITZA,  one  of  the  greatest  mas 
terpieces  of  architecture  of  this  wonderful  period  of  art  in  the 
Western  World. 

Into  the  scene  comes  a  great  procession,  suggesting  the  sym 
bolism  and  imagery  of  the  race: 

Heroes  and  gods,  priests  and  priestesses  (dancers)  and  mu 
sicians  walk  solemnly  across  the  great  plaza  before  the  temple — 
a  brilliant  spectacle,  exotic  and  unique,  flooded  in  the  warm 
glow  of  sunset  light. 

While  priests  perform  a  ceremony  at  the  altar  in  front  of  a 
great  mound,  above  which  towers  the  shrine  of  the  temple,  groups 
of  men,  boys,  and  girls  give  expression  in  dance  to  religious  in 
spiration  and  embodiment  of  strength  and  grace;  and  when  the 
climax  of  the  dance  is  reached,  the  vision  fades  —  the  lights  grow 
dim,  night  steals  on,  and  only  the  glow  of  the  altar  fire  remains. 

When  the  last  of  the  priests  has  left  the  scene,  the  altar  smoke 
blows  away,  and  the  heroic  figure  of  Cahokia  is  discovered  — 
seated  on  the  mound. 

The  Masque  begins  here. 

85 


APPENDIX 


CIVIC  MASQUES 

(Note  for  Preface  page  vii.) 

The  underlying  motive  of  "The  Civic  Theatre"  volume,  here 
referred  to,  is  the  substitution  of  a  dynamic  for  a  static  ideal 
in  civic  celebrations. 

Millions  of  dollars  are  yearly  expended  for  the  latter  ideal, 
almost  nothing  for  the  former. 

A  passive  form  of  exhibit  represents  the  static  ideal;  an  active 
form  of  expression  represents  the  dynamic.  The  former  involves 
collecting  works  of  art,  the  latter  creating  them. 

Public  museums,  bazaars,  exhibitions,  parks,  are  instituted 
to  collect  the  results  of  creative  work  in  art,  industry,  agriculture, 
etc. ;  they  very  seldom  produce  creative  work. 

On  the  other  hand,  civic  theatres  —  which  might  well  leaven 
whole  communities  with  the  desire  andopportunity  to  participate 
in  creative  work  —  are  nowhere  established,  though  their  unde 
veloped  beginnings  are  manifest  in  the  activities  of  the  public 
playgrounds,  the  movement  for  civic  pageantry,  music  in  parks, 
the  Camp  Fire  Girls,  Christmas  and  holiday  festivals  in  public 
places,  new  phases  of  country  fairs,  etc.,  in  all  of  which  the  higher 
significance  of  expressing  life,  instead  of  merely  witnessing  it,  is 
consciously  or  unconsciously  recognized. 

Such  recognition  implies  a  living  social  ideal  of  art,  and  relates 
it  commonly  to  every  constructive  human  activity.  By  it 
the  farmer,  the  engineer,  the  naturalist,  the  gardener,  the  athlete, 
the  chemist,  the  carpenter,  the  statesman,  human  beings  of 
every  creative  vocation,  are  recognized  as  potential  artists  and 
craftsmen,  appropriately  co-workers  and  peers  of  the  poet,  the 
painter,  the  dramatist,  the  architect,  sculptor,  etc. 

Such  recognition  does  away  with  the  false  distinction  between 
fine  arts  and  gross  arts:  it  implies  that  all  true  art  is  fine  art. 

It  does  away,  therefore,  with  the  average  man's  notion  of  art 
as  a  "high  brow"  individualistic  function,  essentially  unrelated 
to  his  own  daily  life.  Indeed,  it  reverses  that  judgment,  and 
makes  the  rank  and  file  of  men  and  women  realize,  perhaps  for 

86 


APPENDIX 


the  first  time,  that  the  cultivation  of  art  is  the  most  important 
and  direct  means  of  fulfilling  the  most  crying  need  of  their  lives 
—  social  solidarity. 

As  a  means  to  that,  art  has  been  recognized  by  the  organizers 
of  The  Pageant  and  Masque  of  Saint  Louis. 

In  preparing  for  the  production  of  the  Masque,  I  can  myself 
speak  for  the  exhilarating  response  to  that  ideal  on  the  part  of 
so-called  average  people,  resulting  in  fresh  and  astonishing  de 
velopments  of  practical  democracy.  In  a  single  committee 
meeting  on  organization,  for  instance,  a  poor  immigrant  shop 
keeper,  a  millionaire,  a  labor  leader,  a  professor  of  fine  arts, 
brought  thus  together  for  the  first  time,  enthusiastically  sup 
ported  one  another's  proposals.  And  such  action  has  been 
typical. 

In  preparation  for  rehearsals,  likewise,  men  of  athletics  — 
wrestlers,  swimmers,  riders;  men  of  aeronautics  —  "fliers"  and 
airship  builders;  men  of  power-plants  —  "light  men"  and  elec 
tric  engineers,  have  shown  keen  zest  in  participating  for  the  first 
time  as  craftsmen,  whose  training  and  insight  have  been  needed 
to  cooperate  in  the  technique  of  the  dramatist  and  stage- 
producer. 

So  to  organize  the  long-dissociated  crafts  and  talents  of  a 
great  city  is  the  special  task  of  dramatic  engineering;  and  its 
most  effectual  instrument,  I  believe,  is  the  civic  Masque. 

If  this  be  proved  by  test  and  rightly  recognized  by  social 
workers  and  statesmen,  the  results  should  be  revolutionary  to 
public  recreation  and  education. 

Communities,  by  such  means,  will  come  to  express  their  mani 
fold  meanings  in  noble  public  masques.  Future  expositions 
and  world  fairs  will  represent  the  great  contributary  cities  and 
industries  of  the  world  not  simply  by  miles  of  labelled  exhibits  on 
walls  and  under  glass,  but  —  focussed  in  vast  amphitheatres, 
before  audiences  of  fascinated  thousands  —  will  produce  a  varied 
repertory  of  vital  civic  dramas,  interpreting  their  distinctive 
communities  through  music,  spectacle,  poetry,  dance,  magic  of 
lighting,  and  choral  song. 

87 


APPENDIX 


MASKED  FIGURES 

(Note  for  pages.) 

By  a  Masked  Figure  in  this  work  is  not  meant  a  person  wear 
ing  a  mask  like  those  worn  by  participants  in  masked  balls,  or  by 
banditti  in  melodrama  —  for  concealment.  The  masks  referred 
to  in  this  "Masque"  (with  one  exception  —  that  worn  by  the 
Figure  in  Black,  in  Part  II)  are  used  primarily  to  reveal,  not  to 
conceal. 

Like  Greek  masks,  they  are  worn  to  reveal  their  underlying 
symbols,  as  well  as  to  sharpen  and  simplify  the  outlines  of  feat 
ures  looked  at  from  a  great  distance. 

In  their  forms,  however,  they  are  not  classic,  for  the  symbols 
they  represent  are  varied,  some  being  modern  and  indigenous. 

The  masks  are  used  also  to  differentiate  the  spokesmen  of 
groups  from  the  other  individuals  of  their  special  groups.  The 
other  individuals  are  "made  up"  in  theatrical  grease-paint,  em 
phasizing  a  simplification  of  the  facial  planes,  suggesting  at  close 
range  a  cubist  effect,  which  is  contrived  to  "carry"  at  long 
visual  range. 

CHORAL  SONGS 

(Note  for  page  xxii.) 

In  the  outdoor  stage  for  the  Masque,  at  Saint  Louis,  a  pit  is 
provided  for  the  orchestra,  near  the  back,  at  centre,  concealed 
from  the  audience  by  the  central  mound.  Concealed  also,  near 
the  orchestra  and  above,  the  chorus  of  many  hundred  trained 
voices  is  stationed  within  range  and  control  of  the  music  director. 
For  these  voices  the  temple  wall  and  wings,  fifty  feet  in  height, 
and  about  three  hundred  feet  in  length,  act  as  a  sounding-board 
to  project  the  sound  toward  the  audience. 

Since  complete  technical  control  and  correlation  of  orchestra 
and  voices  are  essential  to  rendering  the  composer's  work  prop 
erly,  the  singers  themselves  do  not  appear  on  the  stage,  but  on 
the  stage  the  various  pantomime  groups  —  the  Wild  Nature 
Forces,  the  Pioneers,  the  World  Adventurers,  etc.  —  suit  their 

88 


APPENDIX 


action  to  the  music  and  choral  song  of  the  concealed  orchestra 
musicians,  and  the  singers. 

THE  DISCOVERERS 

(Note  for  page  24.) 

The  entrance  by  water  of  the  Discoverers  interprets  sugges 
tively  material  treated  in  the  historical  Pageant. 

Thus  simply  and  unobtrustively  Pere  Marquette  and  the 
devoted  "black  robes"  stole  in  to  the  half  light  of  those  undis^ 
covered  regions  of  the  great  river,  followed  later  by  the  more 
brilliant  pomp  of  mediaeval  church  and  royal  soldiery. 

The  three  Masked  Figures  on  the  Sphere  are,  of  course,  sym 
bolic  of  the  discoveries  made  in  the  Western  Hemisphere  by  the 
Church,  Spain,  and  France,  embodied  in  such  adventurous 
knights  of  Spain  as  De  Soto  and  such  French  fur-traders  as 
Laclede. 

SAINT  LOUIS 

(Note  for  page  30.) 

For  purposes  of  this  Masque,  the  name  Saint  Louis  is  pro 
nounced  without  sounding  the  final  V  (i.  e.,  Saint  Loo-ey),  not 
simply  because  this  pronunciation  —  still  retained  by  the  city's 
older  families  —  is  nearer  to  the  French  original,  but  because 
it  has  a  clearer  and  more  sonorous  quality  for  being  spoken, 
shouted,  or  chanted,  out-of-doors,  on  the  immense  stage  at  Forest 
Park. 

THE   EAGLE 

(Note  for  page  80.) 

At  the  date  of  writing  this  note,  I  have  recently  been  in  com 
munication  with  Mr.  HENRY  WOODHOUSE  and  other  members 
of  the  Aero  Club  of  New  York,  in  regard  to  securing  the  best 
obtainable  "bird  man"  and  aeroplane  for  the  night  flight  of  the 
Eagle  in  this  Masque. 

In  conferring  with  them,  it  has  been  a  significant  experience 
to  note  how  eagerly  these  pioneers  of  the  air  have  welcomed  this 


APPENDIX 


new  opportunity  of  pioneering  for  art.  Themselves  men  of 
imagination  and  engineers,  they  have  been  quick  to  recognize  in 
this  co-working  with  fellow  craftsmen  a  collaboration  which 
should  open  for  aeronautics  a  great  and  practical  civic  field,  far 
more  inspiring  than  that  field  of  war  —  antagonistic  to  civiliza 
tion  —  which  till  now  has  given  their  vocation  its  chief  support 
and  encouragement. 

Captain  Baldwin,  for  instance,  described  to  me  how  he  alighted 
last  Christmas  from  the  skies  above  Montreal  —  garbed  as  an 
aerial  Santa  Claus  —  welcomed  by  twenty  thousand  expectant 
children,  who  had  breathlessly  awaited  his  published  coming 
from  the  North  Pole. 

That  experience,  he  remarked  with  enthusiasm,  had  revealed 
to  him  imaginative  possibilities  of  his  profession,  which  he  saw 
opening  into  still  wider  vistas  at  Saint  Louis,  in  the  flight  of  the 
Eagle,  expressing  the  social  aspiration  of  a  League  of  the  Cities. 

ACTION 

(Note  for  page  xxii.) 

The  action  of  the  Masque  takes  place  in  two  planes,  the  hu 
man  and  the  superhuman,  represented  physically  on  the  stage 
by  the  plaza,  and  by  the  tops  of  the  temple  and  the  towers. 

Each  of  these  planes  has  its  minor  levels. 

In  the  lower  plane,  individual  action  and  speech  are  lifted 
above  group  action  and  song  by  the  raised  levels  of  the  three 
mounds. 

(For  example,  Cahokia  and  Saint  Louis,  chief  spokesmen  of 
the  human  plane,  speak  from  the  central  mound  raised  above  the 
plaza  groups  of  the  Latin  Nations  and  the  Pioneers;  again, 
Europe  and  War  speak  from  the  lesser  mounds,  raised  above  the 
groups  of  the  World  Adventurers  and  the  War  Demons.) 

In  the  upper  plane,  likewise,  individual  speech  and  apparition 
are  lifted  above  group  song  and  action. 

(For  example,  Wasapedan,  the  great  Bear,  chief  spokesman 
of  the  superhuman  plane,  appears  and  speaks  from  mid-air, 

90 


APPENDIX 


above  the  top  of  the  temple  facade  —  on  which  level  occur  the 
appearances  of  the  Stars,  and  the  Spirits  of  the  Years.) 

The  actor  who  chants  the  work  of  Wasapedan  is  of  course 
concealed,  and  from  behind  him  a  constructed  sounding-board 
projects  his  voice  toward  the  audience. 

Thus  there  are  two  major  planes  of  action  (Earth  plane  and 
Sky  plane) ;  each  of  these  has  its  minor  raised  levels  of  action. 

In  this  way  the  human  and  superhuman  meanings  of  the 
Masque  are  strongly  visualized  and  contrasted. 

In  this  connection  it  is  important  to  note  that  throughout 
the  Masque  no  appeal  is  made  to  the  ear  by  speech  or  song  with 
out  a  simultaneous  appeal  to  the  eye,  making  clear  to  the  sight 
the  meaning  of  the  dialogue  and  the  choruses.  This  technique 
is  conditioned  by  the  great  scale  of  the  action,  which  both  to 
the  eye  and  ear  must  be  magnified.  (According  to  careful  tests, 
made  with  men's  voices,  the  acoustics  of  the  Forest  Park  stage 
and  auditorium  are  almost  perfect.) 

So,  just  as  the  group  action  visually  is  focussed  upon  a  few 
chief  vantage-points  of  illumination  (like  the  mound  levels 
and  the  tower  tops),  so  orally  the  spoken  word  is  focussed  in 
three  spokesmen  (Cahokia,  Saint  Louis,  and  Wasapedan),  who, 
strongly  visualized,  speak  with  voices  magnified  by  constructed 
sounding-boards,  or  megaphones,  or  both. 

(Change  of  Scene) 

In  the  interval  of  darkness  which  occurs  between  the  close  of 
Mr.  Stevens'  Pageant  and  the  prelude  of  my  Masque,  a  change 
of  scene  takes  place." 

During  the  Pageant,  the  high  wall  in  the  background  has 
appeared  like  a  precipitous  natural  cliff  of  rock,  grown  over  with 
ivy  and  verdure;  the  two  towers  have  represented  (first)  two 


APPENDIX 


gigantic  tree  trunks,  storm-broken  at  their  tops;  and  (then)  two 
towers  of  a  log-built  stockade;  also,  the  water-line  of  the  stage 
has  appeared  like  a  natural  river-bank. 

Now,  for  the  more  formal,  symbolic  purposes  of  the  Masque, 
the  painted  back-drop  of  cliff-scenery  is  removed,  revealing  the 
architectural  facade  and  wings  of  the  ancient  temple.  Likewise, 
the  stockade-painted  canvas  covering  the  towers  is  lowered  away, 
exposing  underneath  the  sculptured  surfaces  of  two  vast  pylons, 
carved  each  with  an  ancient  Indian  god  some  forty  feet  in 
stature.  On  the  tops  of  these  pylons  appear  Hiloha  and  Noohai, 
the  Elements.  Moreover,  the  water-line  of  the  stage,  at  its 
centre,  is  altered,  uncovering  a  broad  flight  of  formal  stone  steps 
leading  up  to  the  stage  level,  which  now  resembles  a  great  plaza. 

Besides  these  changes,  the  following  also  take  place: 

The  mound,  which  stands  during  the  Pageant  near  the  right 
background,  is  moved  (for  the  Masque)  to  the  centre  middle- 
ground,  and  there — directly  behind  it  and  against  it — is  placed  a 
taller  stage-property,  the  temple-shrine,  whose  steps  thus  lead  up 
from  the  top  of  the  mound.  During  the  Pageant,  this  shrine  — 
turned  back-to  toward  the  audience — has  resembleda  rocky  por 
tion  of  the  background  cliff,  being  so  painted  on  its  back  surface. 

In  addition,  the  two  lesser  mounds  are  moved  on  to  the  stage 

at  left  and  right. 

TIME 

(Note  for  page  xxii) 

The  Masque  is  concerned  with  the  long  continuity  of  human 
endeavor. 

It  treats  the  materials  of  archaeology  and  history  in  the 
Western  Hemisphere,  from  the  prehistoric  times  of  the  mound 
builders  to  the  present  time:  it  treats  the  materials  of  imagina 
tion  in  their  perennial  aspects. 

92 


THE  PAGEANT  OF  SAINT  LOUIS 

A  Synopsis  by  its  author 
THOMAS  WOOD  STEVENS 


THE  PAGEANT  OF  SAINT  LOUIS 

(Reference  from  page  ix  of  the  Preface) 

NOTE:  The  following  is  a  synopsis,  written  for  this 
volume  by  Mr.  THOMAS  WOOD  STEVENS,  in  descrip 
tion  of  his  Pageant: 

The  Pageant  of  Saint  Louis,  written  to  precede  the 
performances  of  Mr.  MacKaye's  Masque,  is  in  form 
a  chronicle  play  dealing  with  aboriginal  life  and  the 
exploration  of  the  Mississippi,  and  with  the  settlement 
and  first  hundred  years'  existence  of  the  city.  The 
stage  for  the  Pageant  and  Masque  is  constructed,  as 
the  vast  amphitheatre  requires,  on  the  most  heroic 
scale;  and  this  scale,  as  well  as  the  necessity  for 
extreme  compression  in  time,  should  be  borne  in  mind 
when  one  considers  the  work  as  a  whole. 

The  scene,  at  the  opening  of  the  Pageant,  is  the 
bank  of  a  river,  the  audience  looking  across  as  from 
the  opposite  shore.  The  bank  is  a  wooded  one,  with 
open  space  amid  the  trees,  and  far  up,  at  the  back,  a 
limestone  cliff  surmounted  with  living  green.  It  is 
late  afternoon,  and  the  sun  slants  across  a  low  mound 
of  earth,  its  upper  surface  freshly  heaped.  Here  and 
there,  between  the  trees,  one  glimpses  the  ends  of  pro 
jecting  shelters  of  woven  mat-work. 

95 


THE  PAGEANT 


The  overture  closes  with  a  drumming  rhythm,  and 
over  the  top  of  the  mound  come  three  figures,  a  priest 
or  prophet  of  the  Mound-builders,  and  two  youthful 
acolytes.  They  rekindle  the  fire  upon  the  mound, 
and  signal  with  smoke  puffs  to  distant  villages,  the 
priest  lamenting  the  death  of  the  chief.  The  tribe 
joins  in  the  lamentation,  and  the  dead  chief,  with  all 
barbaric  state,  is  borne  to  his  rest  upon  the  summit,  the 
priest  chanting  his  death  song,  and  the  people  bringing 
earth  in  baskets  and  patiently  heaping  higher  the  level 
of  the  mound. 

In  this  they  are  interrupted  by  the  entrance  of  three 
hunters,  young  men  returning  in  triumph  with  fresh 
buffalo  skins  on  their  shoulders.  The  hunters  are 
led  by  a  young  chief,  who  calls  on  the  tribe  to  follow 
him  to  the  trails  and  the  feasting,  since  he  has  found 
a  moving  herd.  The  priest  stays  them  for  a  moment, 
calling  the  young  chief  to  his  side;  as  the  lad  comes  up 
to  the  mound's  top,  the  priest  reveals  to  him  the  face 
of  the  dead  man,  and  the  young  chief  throws  himself 
down,  overcome  with  grief.  But  the  hunters  on  the 
plain  below  are  not  moved  by  this,  and  the  tribe  comes 
to  their  calling,  leaving  the  young  chief  standing  over 
his  beloved  dead,  prophesying  that  the  mounds  will 
rise  no  higher.  The  women  come  up  the  slope  with 
the  last  baskets  of  earth,  and  when  they  go  down  again, 
following  after  the  men  of  the  tribe,  the  mound  is  seen 
to  be  empty. 

96 


THE  PAGEANT 


When  the  Mound-builders  have  disappeared,  the 
Indians  of  the  later  time  enter  and  set  up  their  tepees; 
the  life  of  the  village,  with  the  play  of  the  children  and 
the  toil  of  the  women,  begins,  and  is  interrupted  for  a 
short  time  by  the  Spanish  gold-seekers  under  De  Soto; 
the  failure  of  the  object  of  the  expedition,  and  its 
leader's  decision  to  retrace  his  steps,  is  shown  in  pan 
tomime  only,  as  matter  more  remote  from  the  actual 
site  of  the  Pageant.  The  march  of  the  Spaniards  is 
followed  by  a  scene  presenting  the  Indians  in  thier 
dances,  in  battle,  and  finally  in  the  council  which 
divides  the  land  and  sends  part  of  the  tribes  up  the 
Missouri  to  the  snow  and  the  sun-setting,  and  part 
southward  to  the  summer  and  the  flowing-of-the-river. 

After  this  council,  messengers  come  bearing  word 
of  the  approaching  Black-Gown,  and  Marquette  and 
Joliet  enter  in  their  canoes,  are  greeted  in  friendship 
by  the  chiefs  and  assembled  tribe,  and  pass  onward 
down  the  river.  After  them,  La  Salle  comes  driving 
his  unwilling  traders  before  him,  buying  skins  of  the 
Indians,  and  finally  forcing  his  way  down  the  terrible 
and  mysterious  river.  With  him  the  first  movement 
of  the  Pageant  closes. 

A  spoken  interlude  by  an  Indian  Prophet  interprets 
what  has  passed,  in  the  terms  of  his  people,  and  foretells 
the  newer  time. 

The  second  movement  begins  with  the  coming  of  the 
actual  founders  of  the  city.  Laclede  Liguest  has 

97 


THE  PAGEANT 


already  arrived,  selected  the  site,  and  blazed  the  trees 
to  mark  it.  Now  young  Auguste  Chouteau,  his  step 
son,  arrives  with  thirty  men  to  clear  the  ground  and 
start  the  building  of  the  first  houses.  Laclede  now 
enters,  encourages  the  builders,  lays  down  a  plat  of 
his  future  city,  and  with  prophetic  words  assures  them 
of  his  belief  that  it  will  become  "a  considerable  place 
hereafter."  And  he  names  it  Saint  Louis. 

The  village  grows,  house  by  house.  Men  trade  in 
furs.  The  bell  of  the  mission  church  is  heard.  Two 
years  pass,  and,  the  land  across  the  river  having  been 
ceded  to  the  English,  the  Commandant,  St.  Ange  de 
Bellerive,  sets  up  a  French  military  post  at  Saint 
Louis.  He  is  followed  by  the  first  of  the  Spanish 
Governors,  Piernas.  The  place  grows,  and  Trudeau, 
the  first  Schoolmaster,  appears.  The  defence  against 
the  Indian  attack  of  1780  is  shown,  the  embattled 
(and  probably  mythical)  deeds  of  the  Schoolmistress, 
Madame  Rigouche,  being  enacted  along  the  stockades. 

Calm  succeeds,  ruffled  by  the  echoes  of  the  Bastille's 
fall  in  the  songs  of  the  local  Sans  Culottes  Society. 
Then  word  of  the  Purchase,  and  the  coming  of  the 
Americans.  Governor  Delassus  receives  Captain  Amos 
Stoddard,  who,  as  representative  of  the  French  Re 
public,  raises  for  the  last  time  the  French  flag.  The 
people  crowd  closer  to  be  under  it.  Charles  Gratiot 
suggests  a  stay  in  the  transfer;  Stoddard  consents; 
the  village  puts  on  its  afterglow  of  festival,  dances  the 

98 


THE  PAGEANT 


gavotte,  and  feels  itself  for  the  moment  back  in  its  most 
beloved  allegiance.  Again  the  salute  is  fired,  the  flag 
flutters  down,  and  the  Stars  and  Stripes  are  lifted. 
Saint  Louis  has  become  an  American  post.  The 
second  movement  closes. 

A  Watchman  on  the  stockade  now  speaks  for  the 
American  spirit  which  is  to  come. 

The  third  movement  begins  with  the  setting  out  of 
Lewis  and  Clark  on  their  memorable  journey,  and  with 
the  great  march  of  pioneers  to  the  conquering  of  the 
West.  It  is  now  past  sunset,  and  the  onward  looking 
faces  of  this  great  procession  peer  into  the  twilight; 
their  camp-fires  flicker  and  are  left  smouldering;  the 
oxen  slowly  drag  forward  the  white- topped  wagons; 
the  last  of  the  Indians  make  their  peace  and  depart; 
the  first  steamboat  comes  clanking  to  the  levee.  When 
the  twilight  has  deepened,  lights  appear,  and  the  town 
(it  is  now  the  year  1825)  turns  out  to  welcome  General 
Lafayette. 

Years  pass,  the  men  of  the  Battery  returning  from 
Doniphan's  glorious  exploit  in  Mexico  filling  the  next 
scene.  Then  the  singing  idealists  from  the  German 
uprising  of  1848  come  on;  and  after  them,  in  the 
darkening  hour,  the  turbulent  picture  of  the  city 
during  the  Civil  War  —  the  city  on  the  border,  with 
its  divided  sympathies  and  broken  homes.  With  the 
news  of  peace  the  Pageant  closes. 

THOMAS  WOOD  STEVENS. 

99 


THE  COUNTRY  LIFE   PRESS 
GARDEN  CITY,  N.  Y. 


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